致我的父亲，

罗伯特·塞特拉基安

To my father,

Robert Setrakian

 

 

 

 

 

 

 

 

第一卷

Volume One

前言

FOREWORD

作者：Sierra Boggess

By Sierra Boggess

歌唱是世界上最令人愉悦的艺术形式。用发自内心、每个人独有的声音创作音乐，那种自由的感觉，能够真正治愈和改变歌手和听众。

Singing is the most joyous art form in the world. The freeing feeling of creating music with the sound that comes from within, the sound that is unique to each one of us, can truly heal and change the singer and the listener.

但唱歌也可能令人无比恐惧。唱歌时，我们被要求展现自我——只用自己的声音讲述故事，信任音符离开身体，抵达听众的耳朵。正因为唱歌如此脆弱，我们常常需要一个真正理解我们、值得信赖、支持我们、知识渊博、懂得如何引导我们的人陪伴在我们身边。对我来说，这个人就是玛丽·塞特拉基安。

But singing can also be incredibly terrifying. When we sing we are being asked to expose something of ourselves – to tell stories using only our voice, to trust the notes as they leave our bodies and reach the ears of our audience. Because singing is so vulnerable, we often need someone alongside us that truly understands, who is trustworthy, who has our back, who is knowledgeable and knows how to guide us. For me, that person is Mary Setrakian.

我十七岁时遇见了玛丽。当时她在科罗拉多州布雷肯里奇一个为期两周的音乐剧密集训练营任教。我当时还是个痴迷于音乐剧的高中生，既害怕又自信，还在自我怀疑和自我价值感中挣扎。我从未想过，遇见她之后，我的世界会发生如此巨大的改变。

I met Mary when I was just seventeen years old. She was teaching at a two week Musical Theatre Intensive in Breckenridge Colorado. I was a high school student obsessed with musical theatre, equally terrified and confident, and struggling with self-doubt and my worthiness. I had no idea just how much my world would be changed upon meeting her.

我清楚地记得第一次在玛丽的大师班上看到她和学生一起练习的情景。我从未见过有人对学生的进步倾注如此多的热情和真挚的喜悦。她富有同情心，真诚可靠，善解人意，风趣幽默，对任何虚假的东西都毫不在意。她鼓励你深入内心，挖掘你的脆弱。玛丽从那些只习惯于照本宣科唱歌的人身上，激发出真诚的情感表演。我很快明白，我们不应该在声乐表演中追求完美，而应该追求真实。这正是我一直缺失的。从来没有人让我想过要这样唱歌。我开始渴望这个过程。我完全被迷住了。

I clearly remember the first time I saw Mary work with a student in one of her master-classes. I had never seen someone ooze so much passion and genuine excitement for a student’s progress. She was compassionate and real and empathetic and funny and so disinterested in anything false. She dared you to go to the depths, to delve into your vulnerability. Mary drew honest emotional performances out of people who were only accustomed to merely singing notes on a page. I quickly understood we shouldn’t be looking for perfection in our vocal performance, we should be looking for truth. This is what I had been missing. No one had ever made me think about singing like this. I started to crave the process. I was hooked.

与玛丽合作期间，我爱上了用故事的方式唱歌。现在我知道如何讲述这个故事，将每个音符献给某个人，始终清楚自己在为谁唱歌，以及他们为什么需要听到这首歌。这种工作方式如此“发自灵魂”，仿佛玛丽在引导你回忆起真正的自我。和玛丽在一起，每个音符都不会被浪费。声乐热身并非只是敷衍了事，它们都蕴含着意义。“你知道你在为谁唱歌吗？”“你意识到了什么？”“现在就来”，这些只是她要求你在唱每个音阶之前先明确表达的几个短语。你总是从认识到你的经历塑造了你这个人的起点出发，那么为什么不把它们也运用到歌唱中呢？

While working with Mary, I fell in love with singing through storytelling. I now know how to tell that story by dedicating each note to someone, by always knowing to whom I am singing, and why they need to hear it. It’s a way of working that is so ‘from the soul’ that it’s almost as if Mary is guiding you to remember who you really are. With Mary, no note is ever wasted. Vocal warmups aren’t just something to get through. They all are endowed with meaning. “Do you have who you’re singing to?” “What are you aware of?” “Drop in now,” are just a few of the phrases she asks you to crystalize before even singing a scale. You always start from the place of knowing that your experiences have made you who you are as a human, so why not use them to sing as well?

玛丽的方法将真实与技巧相辅相成。我记得在一次特别的大师课上，玛丽试图让我们停止歌曲中那些夸张的、虚假的表演节奏和不必要的手势。玛丽随口说出了一句：“你足够好，你是如此足够好，你如此足够真是难以置信。” 这句话让我愣住了。我觉得这是我听过最精彩、最搞笑的一句话。她仿佛在恳求我们在添加任何内容之前，先相信自己。说真的，如果我们连自己“足够好”都不知道，作为歌手，我们又怎么能展现出赤裸裸的脆弱呢？如果我们在表演过程中一直为自己的样子道歉，观众又怎么能透过我们看到自己呢？在同一节课上，玛丽教我们“亲密”这个词的意思是“进入我，看”。作为表演者、歌手、演员，我们都在要求人们看到我们，也要求人们透过我们看到他们自己。有了这些认识作为基础，我们就可以开始培养表演者并以真实的方式工作。

The truth and the technique in Mary’s method go hand in hand. I remember one particular masterclass when Mary was trying to get us to stop our over-the-top false acting beats and the unnecessary hand gestures in our songs. Mary casually blurted out the phrase “you are enough, you are so enough, it’s unbelievable how enough you are.” It stopped me in my tracks. I thought that was the most brilliant and hilarious phrase I had ever heard. It was almost as if she was pleading with us to trust ourselves before adding anything else. And really, if we don’t know we are “enough,” how else are we supposed to be raw and vulnerable as singers? How can the audience see themselves through us if we are apologizing for who we are in the process? In the same class, Mary taught us that the word “intimacy” means “into me, see.” As performers, as singers, as actors, we are asking people to see us and see themselves through us. With this knowing as our foundation, we can then start building as performers and working in an authentic way.

我和玛丽合作多年。在我的职业生涯中，她像老师、啦啦队员和朋友一样陪伴在我身边。当我在百老汇首次亮相，饰演《小美人鱼》中的爱丽儿，以及后来在百老汇复排的《大师班》中扮演歌剧演员时，她的技巧拯救了我。当我在百老汇制作的《摇滚学校》中同时演唱花腔和摇滚腰带时，我感到紧张，玛丽在每个午休时间都陪在我身边，提醒我专注于呼吸和《革命性的传递》。在百老汇的每一次试镜、复演和排练过程中，我都会首先联系玛丽。她的方法对任何与她合作过的人来说都是无价的。她的技巧对每个表演者都至关重要。

I’ve worked with Mary for years. She has been by my side as teacher, cheerleader, and friend for each moment of my career. Her technique saved me when I was making my Broadway debut as Ariel in The Little Mermaid and later when I was portraying an opera singer in the Broadway revival of Master Class. When I was nervous having to sing both coloratura and rock belt in the Broadway production of School of Rock, Mary was there for me on every lunch break to remind me to focus on the breath and The Revolutionary Send. Mary is my first call for every Broadway audition, callback, and rehearsal process. Her methods are invaluable to anyone who has ever worked with her. Her technique is essential for every performer.

我很高兴，通过这本书，你就能了解玛丽·塞特拉基安几十年来的教学理念。我知道，无论你是刚刚起步，还是已经唱歌一辈子，这本书都会唤醒你内心的某些东西。我和玛丽一样相信，我们每个人都有唱歌的能力，只是需要从某个地方开始。

It excites me that with this book, you are now going to get to discover what Mary Setrakian has been teaching for decades. I know whether you are just starting out or have been singing for your entire life, this book is going to awaken something in you. I believe, just as Mary does, that we are all capable of singing, we just have to start somewhere.

为什么不试试呢？毕竟……你已经足够好了！

So why not try? After all…you are enough!

序幕

PROLOGUE

首先，讲一个小故事

First, a little story

我在纽约每年都会开几次歌唱课。任何人都可以来。我上课的房间墙壁漆成了黑色。它被称为“黑匣子剧场”，这意味着没有干扰——只有工作。里面有几张长凳、一架钢琴、一块黑板、一张高脚凳，还有我。

Several times a year in New York City I teach a singing class. Anyone can come. The walls of the room where I hold the session are painted black. It’s called a black box theater, which means no distractions – just the work. There are a few tiered benches, a piano, a blackboard, a high stool, and me.

你可能会问，都有哪些人会来上这些课？让我欣喜的是，来上课的学员总是形形色色。有曾经在百老汇登台演出（但仍想继续磨练技艺）的，也有受过专业训练的舞蹈演员和演员，希望在自己的职业履历上再添一笔歌唱天赋。但这门课吸引的可不仅仅是专业人士。要知道，唱歌对我们很多人来说可能都是一个隐秘的渴望。我常常对其他来上课的人感到惊讶。

Who, you might ask, comes to these classes? To my delight, there is always a diverse bunch. There are those who have sung on Broadway (still wanting to hone their craft), as well as trained dancers and actors who would like to add singing to their professional resumés. But this class doesn’t just attract the pros. You see, singing can be a secret desire for many of us. I am often surprised by who else shows up.

参加者中有一位足球妈妈，她很想加入教堂唱诗班，但太害怕试镜。还有一位年轻的职业小伙子，他不想在卡拉 OK 之夜和同事一起唱跑调而尴尬。我曾邀请过一位华纳兄弟的高管来参加，因为她的工作需要大量的公开演讲。她觉得，如果她能改善自己的歌喉，那么她的说话声音也会变好。（事实也的确如此。）一位知名银行家特意抽出时间吃了顿“长午餐”来上我的课。他告诉我，在他成长的过程中，他的父母曾劝他永远不要在娱乐圈取得成功。真可悲——这可是他真正热爱的事业。但令人高兴的是，他刚刚在社区剧院获得了《卡米洛特》中“亚瑟王”的角色——现在他需要我的帮助。有些可爱的高中女生眼里闪烁着光芒，梦想着在《歌剧魅影》中扮演克里斯汀；还有些说自己“习惯在淋浴时唱歌”，但现在希望能鼓起勇气在公共场合唱歌。甚至还有人说，他们甚至无法忍受自己说话的声音。我的格言是“唱歌源于说话”，所以，让他们拥有健康、优美的嗓音是当务之急。

Among the attendees has been a soccer mom who’d love to join her church choir but was too scared to audition. Also, a young professional guy, who wanted to stop being embarrassed at karaoke night singing off-key with his co-workers. I’ve had a top executive from Warner Brothers show up because her job requires a lot of public speaking. She felt that if she improved her singing voice, her speaking voice would improve too. (It did.) A high-profile banker took a “long lunch” to come to my class. He shared with me that when he was growing up, his parents convinced him that he’d never make it in showbusiness. How sad – it’s what he truly loved. But happily, he had just landed the role of “King Arthur” in Camelot at his community theatre – and now he wanted my help. There were some adorable high school girls with stars in their eyes who dreamt of playing Christine in Phantom of the Opera, and others who said they “sing in the shower,” but now hoped to find the courage to sing in public. There were even those who said they can’t stand the sound of their own speaking voice. My adage is “singing is born out of speaking,” so getting their healthy, beautiful speech in place is a priority.

学生们排队的时候，我能感觉到他们有点紧张和忐忑——或许是意识到在歌唱课上，他们真的要唱歌。为了让他们放心，我在门口迎接了每个人。我询问他们的歌唱经历以及他们来这里的原因。

As the students line up, I can tell they are a bit nervous and apprehensive – perhaps realizing that, at a singing class, they’ll actually have to sing. To assure them they have nothing to fear, I greet each person at the door. I ask about their singing experience and why they came.

但说实话，我的“见面问候”另有目的。我正在暗中诊断他们的声音。我正在探究每个人的本质，以了解：他的声音是否自由？她是否有情感障碍？她认为自己足够好吗？他们准备好分享自己的脆弱了吗？

But to tell you the truth, my “meet & greet” has an ulterior motive. I am secretly diagnosing their voices. I am checking into the essence of each person to find out: Is his voice free? Does she have emotional blocks? Does she think she’s enough? Are they ready to share their vulnerability?

唱歌，正如我亲身经历的那样，不仅仅是唱准音符。别误会，这很重要。我曾在新英格兰音乐学院待了两年，就是因为我对自己的高音没有信心。没有正确的技巧，唱高音很难！但更难的是接受一个事实：唱歌不仅仅是唱准音符。无论你的声乐天赋或音域如何，真正的声音都必须发自真情实感。简而言之，如果你无法与自己的情感连接，你的声音就缺乏那种让别人驻足聆听的魔力。

Singing, as I had to come to find out for myself, is not just about hitting the right notes. Don’t get me wrong, that’s important. I spent two years at the New England Conservatory because I wasn’t confident in my high notes. Without the right technical information, high notes are hard! But even harder was coming to terms with the fact that singing is more than hitting perfect notes. A real voice, no matter what your vocal gift or range, must be shared from an emotional truth. Put more simply, if you are not connected to your emotions, your voice will lack that magical something that makes others stop and listen.

我做的第一件事就是观察。我观察他们的呼吸方式。我观察他们的上胸部——是不是在剧烈起伏？用肺部顶部吸气，胸部抬高到锁骨附近，这种呼吸方式并不健康。事实上，这给了我一个警示信号：他们的呼吸超过了他们真实的情绪。他们在逃避痛苦的感受。我称之为“恐慌呼吸”。

The first thing I do is look. I look to see how they are breathing. I look at their upper chest – is it heaving high? Inhaling at the top of the lungs with the chest rising up near the clavicles is not a healthy breath. In fact, it gives me a warning sign: They are breathing above their true emotions. They are avoiding their painful feelings. I call it the Panic Breath.

我见过的最极端的恐慌性呼吸案例是一位年轻女演员，她热情地迎接我，我迫不及待地想听她讲述更多。“嗨！我是妮娜！”她尖叫起来，声音像米妮老鼠。“那么，告诉我，”我说，尽量不透露我能清楚地看到她每次呼吸时胸膛起伏的事实，“你想让你的声音怎么改变？”令我震惊的是，就在那里，在她身后排成一排的人面前，她说：“我来这里是因为，当我还是个小女孩的时候，我的母亲总是试图自杀。我知道我的呼吸和声音有问题。你能帮助我吗？”我知道我可以。但我也知道，在课堂上，为了治愈她那重大的声音创伤，她会流泪，会痛苦。

The most extreme case of the Panic Breath I ever saw was in a young actress who greeted me with so much enthusiasm that I couldn’t wait to hear more about her. “Hi! I’m Nina!” she squealed, sounding just like Minnie Mouse. “So, tell me,” I said, trying not to reveal the fact that I could clearly see her chest heaving high with every breath, “how do you want your voice to change?” To my shock, right there, with a line of people behind her, she said, “I’m here because, when I was a little girl, my mother was always trying to commit suicide. I know there is something wrong with my breathing and my voice. Can you help me?” I knew that I could. But I also knew that there would be tears and pain in class to heal her high-stakes vocal trauma.

然后，我看着他们的腹部 — — 是不是绷得特别紧？还是说，它随着呼吸自然地摆动？你看，要自然吸气，腹部需要放松。（这是后面关于著名的横膈膜如何工作的讨论。）我经常发现运动员的腹部特别紧，从芭蕾舞演员到健身狂。模特和军人都被教导要收腹。但普通平民也不能幸免。我们中的许多人都收紧肚子，以免看起来肥胖。这是一个高尚的想法，但它对唱歌或生活来说并不健康。这里的警告信号是收紧。如果你把一切都收紧，就无法真正分享你的脆弱 — — 或者你的真实声音。

Then, I look at their belly – is it held super tight? Or, is it moving easily with their breath? You see, to inhale naturally, the belly needs to release. (That’s a discussion for later about how the famous diaphragm works.) I often spot an extra tight belly in athletes, from ballerinas to gym fanatics. Both models and military men are taught to hold the stomach in. But regular civilians are not immune either. Many of us pull our tummies in tight in order not to look fat. It’s a noble idea, but it’s not healthy for singing – or for life. The warning sign here is holding it together. If you are holding everything tight, there is no way to truly share your vulnerability – or your true voice.

最后，我看着他们的肩膀——他们是放松了，还是抬起了肩膀，仿佛要承担起世界的重担？

And finally, I look at their shoulders – are they released, or are they lifting them up, as if to be holding the burdens of the world upon them?

接下来，我会聆听。我会留意对方声音的音色。音色指的是声音本身——质感——特征或品质。例如，他们说话的声音是否像迈克尔·杰克逊那样高亢通透？或者，他们的音色是否像詹姆斯·厄尔·琼斯那样浑厚、深沉、光彩夺目？他们的声音是否像玛丽莲·梦露那样轻柔、带着气息？又或者，他们可能带着最令人讨厌的鼻音，就像电视剧《老友记》里的“珍妮丝” 。

Next, I listen. I listen for the timbre of the person’s voice. Timbre is the sound – the texture – the character or quality of the voice. For example, is the timbre of their speaking voice high and airy, like Michael Jackson? Or, is the timbre rich, deep, and radiant, like James Earl Jones? Is their voice breathy and light, like Marilyn Monroe? Or, maybe they have the most annoying nasal sound, like “Janice” on the TV show Friends.

或者最糟糕的是，我听到一种喉音——那些直接用声带说话的人，被称为“喉咙嘶嘶声”。这种情况在青少年和千禧一代中比你想象的更常见。这些孩子充满了未表达的情绪，会压低自己的声音。喉咙里发出那种“培根嘶嘶声”的声音，让他们不知不觉地掩盖了脆弱的情感。现在他们觉得自己听起来很酷很放松。扭曲真实的声音会给他们一种虚假的勇气，让他们觉得没有什么能打扰他们，仿佛他们对世间的伤痛免疫。恰恰相反，他们是在无意识地掩盖自己的情绪，将痛苦的感觉拒之门外。可悲的是，这一切都是装出来的，而且后果非常严重。

Or, worst of all, I hear a throaty timbre – those who speak right on the vocal cords, known as “vocal fry.” This is more common than you would imagine among teenagers and millennials. These kids, who are full of unexpressed emotions, push their voices down. Creating that “bacon sizzling” sound in the throat, gives them a way to unknowingly cover their vulnerable feelings. Now they think they sound cool and relaxed. Distorting their true voices gives them a false courage that nothing can bother them, as if they are immune from the hurts of the world. On the contrary, they are unconsciously covering their emotions, and keeping their painful feelings at bay. Sadly, it’s all an act, and one with very bad consequences.

音色源于振动。我把这种振动称为“共振”。我的工作是确保每个声音都以尽可能自由的方式振动和共振，没有压力、阻塞或阻碍。

Timbre exists because of vibration. I call this vibration Resonance. It’s my job to make sure that each voice is vibrating and resonating in the most liberated way possible, without stress, blocks, or impediments.

当你坐在那里读这篇文章时，想象一下你的声音在你的嘴周围振动。说“嗯嗯嗯”。你感觉到嘴唇上痒痒的震动了吗？你的脸颊也痒痒的？如果没有，稍微放松一下你的下巴、舌头和嘴唇，再试着真正感受一下那种嗡嗡作响的感觉——“嗯嗯嗯嗯”。你在嘴巴和脸颊周围感受到的那种震动，就是我所说的健康共鸣。

As you sit there reading this, think of vibrating your voice around your mouth. Say “Hmmmmm.” Do you feel a tickling vibration on your lips? Maybe your cheeks too? If not, relax your jaw, your tongue, and your lips a little bit more, and try again to really feel the buzzing sensation – “Hmmmmm.” That vibration you feel around your mouth and cheeks is the healthy resonance I’m talking about.

干扰声音的健康共鸣并不总是心理问题（例如声带震颤）。不幸的是，它可能是由于糟糕的歌唱技巧指导造成的——这样的指导有很多。我经常听到新学生的声音飘忽不定、空洞无力。当我问他们的老师是否告诉过他们唱歌时要“打开喉咙”时，他们会说：“是的，这是为了让我的声音更有共鸣。” 不幸的是，喉咙张得太大会使音色变差。另一个副作用是，歌手唱完一首歌就会感到嗓音疲惫！在我们调整“打开喉咙”的消散后，他们不仅发现自己拥有美丽、充满活力的声音，而且可以连续唱几个小时而不会感到疲劳。

Jamming the healthy resonance of the voice is not always the result of psychological issues (like vocal fry can be). It can occur, sadly, due to bad technical singing advice – of which there is plenty. Time and again, I hear a new student with a dissipated and airy sound. When I ask if their teacher told them to “open the throat” while singing, they say, “Yes, it’s to get more resonance in my voice.” Unfortunately, a throat that is open too wide minimizes the tone. Another side effect – the singer becomes vocally exhausted going through just one song! After we adjust the “open throat” dissipation, they not only discover their own beautiful, vibrant voice, but they can sing for hours without fatigue.

接下来，听完声音后，我会感受……我会感同身受地感受到每个学生体内共振的振动位置，以及这种振动对他们的影响。我该怎么做呢？每个音符中都有泛音——额外的音调，也称为频率，是我们肉耳听不到的。正常振动的声音会产生这些泛音，它们堆叠在基音（我们听到的音符）之上，就像摩天大楼一样：地下室有基频，然后泛音会在较低的楼层、中等楼层和顶层的顶层响起。通过一种渗透作用，我会诊断每个声音，看看这些泛音是否能自由响起。如果不是，它们在物理和情感上是如何受到干扰的？

Next, after listening to the voice, I feel. I empathetically feel where the vibration of the resonance is living in the body of each student, and I feel how it is affecting them. How do I do this? In every note there are overtones – extra tones, also called frequencies, that we can’t hear with our naked ear. A voice vibrating properly will generate these overtones which are stacked on top of the fundamental tone (the note we do hear) like a skyscraper: There’s the fundamental frequency in the basement, and then the overtones ring on the lower floors, medium floors, and high above in the penthouse. Through a kind of osmosis, I diagnose each voice to see if these overtones are ringing freely. If not, how are they physically and emotionally being jammed?

有些人说话声音过高，盖过了他们真实的声音——一种轻柔、飘忽、飘渺、毫无根基的声音。这可能是他们脱离性欲和痛苦情绪的一种方式。迈克尔·杰克逊就是一个严重的案例。众所周知，他很小的时候就遭受了父亲的虐待。我相信，为了拼命逃避痛苦，迈克尔·杰克逊一直是个小男孩——就像永远长不大的彼得·潘一样——用一种高亢、断断续续的语调盖过了他真实的声音。

There are those who are speaking way too high, above their true voice – a soft, airy, floaty sound that has no grounding. This can be a way for them to disconnect from their sexuality and painful emotions. Michael Jackson was a severe case. It’s well known that he was abused by his father at a very young age. I believe that, in desperately trying to escape from his pain, Michael Jackson stayed a little boy – like Peter Pan who never grew up – speaking above his true voice in a high, disconnected tone.

我也见过班里一些才华横溢的非裔美国男性，他们说话轻声细语，无意识地压抑着自己声音的共鸣和力量。我会确保这些才华横溢的男性意识到，他们不再需要弱化自己的力量。令我深感不安的是，这种声音问题揭示了偏见的真相，在这个白人社会中，许多人都害怕强壮的年轻黑人男性。为了避免显得“可怕”，这些善良而富有同情心的男性会无意识地弱化自己的语调。这样做，他们削弱了自己的共鸣和声音存在感，以迎合他人。这种情况必须停止。我们需要他们的声音在这个世界上拥有全部的力量。

I’ve also witnessed talented African American men in my class who unconsciously suppress the full resonance and power of their voices by speaking softly. I make sure these talented men are aware they no longer have to soften their power. It deeply troubles me that this vocal issue reveals a truth about prejudice in a world where much of White society is frightened by strong, young Black males. In order not to come off as “scary,” these good and compassionate men unconsciously soften the tone of their voices. In doing so, they diminish their resonance and vocal presence to accommodate others. This must stop. We need the full power of their voices in our world.

有些人会把声音压得很低，以抑制声音中最高的泛音。我觉得这些人害怕自己“太过分”。他们不敢用高音说话——担心会占据太多空间。我见过一个妹妹，她不想超过姐姐，所以说话轻声细语，像老鼠一样。我遇到过一个儿子，他想让父亲接纳他，所以他把声音塞进喉咙，听起来像青蛙一样。他们的声音沙哑，毫无感染力。但这是一种保护自己不让自己显得过于强大的方式——但愿她比姐姐优秀，或者他敢于反抗父亲。他们没有意识到这一点，因为这已经成为一种生活方式。

There are others who dampen the highest overtones in their voice by pushing their voice way down low. I feel that these people are scared that they will be “too much.” They don’t dare have high tones in their voice – maybe they’ll take up too much space. I’ve seen a little sister who didn’t want to surpass her big sister, so she spoke softly, like a mouse. I worked with a son who wanted his father to accept him, so he pushed his voice into his throat and sounded like a frog. Their voices were scratchy and unappealing. But it was a way to protect themselves from being in their greatness – God forbid if she was better than her sister, or if he stood up to his father. They were not aware, because it had become a way of life.

所以，我仍然站在门口，评估他们的问题。我会单独问每个人：“你今天需要什么？你希望在哪些方面让自己的声音更好？”他们的回答（或者没有回答）让我深刻地认识到，我应该在个别情况下关注他们哪些方面，以及这些回答与我对他们的第一次观察、聆听和感受评估有何关联。也许那天会有一个主题——也许很大一部分人说话时喉咙里有东西。也许他们中的大多数人正在削弱自己的力量，而他们自己却没有意识到。也许我应该用一种特定的方式让全班同学都集中注意力。

So, still at the door, I am assessing their problems. I ask each person individually, “What do you need today? In what ways do you want your voice to be better?” Their answers (or lack of answers) give me great insight into what I should focus on with them individually, and how those answers relate to my first look, listen, and feel assessment of them. Maybe there’s a theme that day – maybe there’s a large percentage of those who are speaking in their throat. Maybe most of them are diminishing their power, and they don’t know it. Maybe I’ll focus the whole class in a specific way.

见面会结束后，大家都在长椅上落座，等待着第一条指令。你或许会想，既然有机会跟我聊过天，大家应该都会很放松。没想到吧。我望向窗外，看到一群双腿交叉、双臂抱在胸前的人。这都是我们为了保护自己而做的习惯。交叉双臂和双腿是隐藏和保护自己的完美方式——就像在纽约乘坐地铁时一样。但在歌唱课上，我们祈祷所有的情绪都能敞开心扉——而不是保持戒备。所以，首先，我宣布：“全班同学，任何人都不许交叉双臂或双腿坐着。保持开放！”

After our “meet & greet,” everyone takes their seat on the benches, waiting for their first instruction. You might think that, having had a chance to chat with me, everyone would be pretty relaxed. No way. I look out to a sea of legs crossed and arms folded in front of chests. This is a habit we all do for protection. Crossing the arms and legs is the perfect way to hide and protect yourself – like when you’re riding the subway in New York City. But in singing class, we pray that all of our emotions are available to us – not guarded. So, first things first: I announce, “For the entire class, no one is allowed to sit with crossed arms or legs. Stay open!”

我打开音乐。但我们不会唱歌——现在还不。我们要开始动起来。我让每个学生从层级上下来，走到教室中央，大声喊出自己的全名——名字和姓氏。最小的一个学生，一个和妈妈一起的女孩，俯身过来（她妈妈后来告诉我）说：“放我出去。我做不到。” 这位年轻的女士已经多次登上舞台唱歌跳舞，但想到要在黑匣子剧场里大声喊出自己的名字，她感到害怕。但是，她不会例外。在她喊出自己的名字后，坐在长凳上的学生们会一字不差地重复她喊出的名字。然后，她必须跳一个舞——任何她喜欢的舞步。班上的其他同学必须融入她的角色，并像她一样摆动身体。我为什么要这样做？因为说出自己的名字会赋予你力量。我们很少说出自己的全名，当然也从不大声喊出来。听到全班同学重复你的名字，更能让人感到鼓舞。至于我这个老师，这很能说明问题，看看她是否有足够的勇气喊出自己的全名。她会不会有足够的勇气唱歌？

I turn on music. But we are not going to sing – not yet. We’re going to move. I make every student come down the tier to the center in front of the class and yell their full name – first and last. One of the youngest students, a girl who is there with her mother, leans over (her mother later tells me) and says, “Get me out of here. I can’t do that.” This same young woman has gotten up on a stage multiple times to sing and dance, but the thought of shouting out her own name in a black box theatre terrifies her. But there will be no exceptions. After she yells her name, the students on the benches repeat her name exactly how she yelled it. Then, she must do a dance move – any dance move she likes. The rest of the class must drop into her character and move their bodies exactly as she has done. Why do I do this? Because it is powerful to say your name. We don’t say our full name very often, and we certainly never shout it. It’s even more empowering to hear a whole group repeat your name. And for me, the teacher? It’s revealing to see if she is brave enough to shout her full name. Will she be brave enough to sing?

至于舞蹈，我要求每个人承担更大的风险：在他人面前展现自己的真实——无论这真实是什么。我要求班上其他同学也重复同样的动作，因为这需要他们跳出自我，或许，就像一个他们从未想过自己能成为的人一样。

As for the dancing, I am asking each person to take an even bigger risk: to move in their own truth – whatever that truth might be – in front of others. I am asking the rest of the class to reproduce that movement because this requires them to step outside of themselves, and, just maybe, move as someone they never thought they could be.

现在轮到每个人站起来，为我单独唱歌了。你可能会问，人们真的会站起来唱歌吗？什么歌都唱——从歌剧到摇滚，从民谣到百老汇。有几个人有点慌乱，不知道唱什么，所以我让他们唱《生日快乐》。没关系。当他们一个接一个地为我唱歌时，我正在衡量他们的勇气。他们能否冒险唱出任何水平？他们是否愿意唱出来，分享自己的情感？我经常称赞他们的努力：“真是太棒了！”（学生们哄堂大笑。）我的脏话有点像个诡计——如果我粗鲁一点、疯狂一点，他们也许会鼓起更多勇气去冒险。我希望他们能上钩。

Now it is time for each person to get up and sing individually for me. What, you might ask, do people actually get up and sing? Everything – from opera to rock, from folk to Broadway. A few of them panic and don’t know what to sing, so I tell them to sing “Happy Birthday.” That’s fine. As they sing for me, one by one, I’m gauging their courage. Can they take a risk and sing no matter what level they are at? Are they willing to sing out and share their emotions? I often compliment their efforts: “That was fucking great!” (The students crack up.) My swearing is kind of a ruse – if I’m a little crass and crazy, they just might conjure up a little more courage to take a risk. I hope they take the bait.

歌唱结束后，房间里一片宁静。没有一个人哭出来——恰恰相反。有几个人甚至笑了！他们开始互相交谈。那个以前不敢大声喊自己名字的小女孩现在滔滔不绝地说：“天哪，我感觉好多了！”我告诉她，我训练过一些好莱坞明星，他们在上完歌唱课后也会说同样的话（比如已故的詹姆斯·甘多菲尼，我稍后会谈到他）。

By the end of the singing, there is a calm that comes over the room. Not one person has run out in tears – quite the contrary. A few are actually smiling! They are beginning to talk to each other. The young girl who didn’t want to shout her name now can’t stop talking: “Gosh, I feel so much better!” I tell her that I have trained Hollywood stars who say the same thing after a singing lesson (like the late James Gandolfini who I’ll talk about later).

是时候回到黑板上，传授我从那些真正才华横溢的名师那里学到的技巧了。我停下来思考了一会儿。我常常惊叹于自己是如何站在这么多人的肩膀上，他们给了我知识，让我将这些知识融入到自己的方法中——从我公立高中音乐系的声乐大师JD Nichols和Gary B. Walker，到我年轻时的私人声乐老师，从Corinne Swall和Marie Gibson，到Mark Pearson、Phyllis Curtain和Joan Heller，再到我三十年的表演导师Susan Batson。如果没有他们的指导，我的事业和生活不会如此充实。我走向黑板，确实是站在他们的肩膀上。也许在不久的将来，也或许在遥远的将来，你们也会将从他人和本书中学到的信息融入到你们自己的方法中。我很荣幸你们能站在我的肩膀上。愿我们都能继续传承下去。

It’s time to turn to the blackboard to teach the techniques that I learned from my truly gifted master teachers. I pause and reflect for just a moment. It always stuns me to realize how I stand on the shoulders of so many, who gave me the knowledge that I have spun into my own method – from my public high school’s music department with vocal masters JD Nichols and Gary B. Walker, to my private voice teachers throughout my youth beginning with Corinne Swall and Marie Gibson, then Mark Pearson, Phyllis Curtain, and Joan Heller – to my acting mentor of thirty years, Susan Batson. My career and my life would not be so full without their guidance. I do indeed stand on their shoulders as I step to the blackboard. Maybe someday, in the near or far future, you too will take the information you’ve learned from others and in this book and integrate it into your own method. I’d be honored to have you stand on my shoulders. May we all keep passing it forward.

黑板已在等候。我们已开始行动，学习与情绪相关的发声技巧——学习如何释放内心的恶魔、痛苦和个人故事，并将这一切提升到歌唱的艺术、快乐和魔力中。

The blackboard is waiting. We are off and running, studying the voice techniques that connect to our emotions – learning on our feet how to release our demons, our pain, our personal stories, and lift it all to the art, joy, and the magic of singing.

介绍

Introduction

唱歌是一个奇迹

SINGING IS A MIRACLE

今天是你最好的朋友的生日，是时候享受这个特别的时刻了。插着蜡烛的蛋糕被端到客厅，所有的灯都熄灭了。你开始唱起那首著名的歌：祝你生日快乐……你的声音不假思索地就跟着“生日快乐”的旋律唱了起来。我们都跟着唱了起来。我们都知道“生日快乐”。我们都熟悉这首曲子，我们的声音也完美地跟随你的旋律。即使有人跑调了，我们也在一起唱着这首歌。我们的歌声在空中回荡。我们和鸟儿一起，享受着上帝赐予的歌声！

It’s your best friend’s birthday, and it’s time for that special moment. The cake with candles is being paraded out to the living room, and all the lights are turned off. You start singing that famous song: Happy Birthday to you…Without a thought, your voice goes to the exact melody of “Happy Birthday.” We all join in. We all know “Happy Birthday.” We all recognize the tune, and our voices follow your lead perfectly. Even if somebody waivers off pitch, we’re singing the song together. Our voices are in the air. We have joined the birds in the God-given gift of song!

我们的大脑、身体和声带是如何知道如何唱出“生日快乐”的准确旋律的？让我们面对现实吧——唱歌是一个奇迹。

How did our brains and bodies and vocal cords know how to sing the exact melody of “Happy Birthday?” Let’s face it – singing is a miracle.

即使拥有这样的奇迹，你仍然有很多方法可以提升自己的歌喉。通过这本书，我非常乐意帮助你发现自己独一无二的歌喉，并充分发挥它的潜力。无论是每天登台演出的经验丰富的专业人士，还是在淋浴时唱歌的业余爱好者，甚至那些认为唱歌遥不可及的人——我相信你可以唱——用心去唱。

Even with this miracle, there is much you can do to improve your singing voice. With this book, it is my passionate pleasure to help you discover your personal, one-of-a-kind singing voice, and bring it to its full potential. From the seasoned professional who is on a stage every day, to the amateur who sings in the shower, to those of you who believe that singing is beyond your reach – I think you can sing – really sing.

任何天生拥有声带的人都有说话和唱歌的能力。我相信声音是一条精神通道。它通过声音和振动，开启了一个充满沟通、创造力和亲密感的世界。

Anyone who is born with vocal cords has the capability to speak and sing. I believe the voice is a spiritual channel. It opens up a universe of communication, creativity, and intimacy through sound and vibration.

只有一个你

THERE’S ONLY ONE YOU

照照镜子，这就是你！独一无二的你。就像指纹和雪花一样，你的声音也独一无二。我们见过电视节目的评委和世界各地的“万事通”评选谁的声音最好、最差，或者糟糕透顶。我相信每个人都有自己的独特之处。宇宙赋予的声音天赋各不相同，但谁又能说哪一种才是最好的呢？

Take a look in the mirror. That’s YOU! There is no other like you. And just like fingerprints and snowflakes, there is no other voice like yours. We have seen judges on TV shows and know-it-alls around the world give their opinions on whose voice is the best, worst, or downright awful. I believe every individual has something special. There certainly are different kinds of vocal gifts that the Universe hands out, but who is to say what is the best gift?

雷克斯哈里森不想接受 1956 年原版音乐剧《窈窕淑女》中的希金斯教授角色，因为他说他根本不会唱歌。然而，他在《窈窕淑女》中的歌曲大部分是朗诵的，但却深深打动了观众，以至于大多数人甚至都不记得他很少唱歌。他后来凭借舞台和电影表演获得了托尼奖和奥斯卡奖。当伟大的舞蹈家/歌手弗雷德阿斯泰尔第一次试镜时，得到的反馈是“不会唱歌，可以跳一点舞。”没错，他的声音像芦苇一样轻，但弗雷德阿斯泰尔的真诚和简单的演唱使他成为 20 世纪 30 年代最受追捧的歌手之一，其中包括科尔波特、欧文柏林、约翰尼默瑟和格什温兄弟。这些才华横溢的作曲家兼作词家知道他们的歌词会被听到和感受到。弗雷德·阿斯泰尔身材瘦削，歌唱能力极强（舞技也出色），他成为当时唱片销量第一的歌手，比其他任何歌手都更能演绎美国金曲集里的经典曲目。他充分发挥了自己的潜力。

Rex Harrison didn’t want to accept the role of Professor Higgins in the original 1956 musical My Fair Lady because he said he couldn’t sing at all. And yet, his songs in My Fair Lady, largely spoken, moved his audience so much that most people don’t even remember that he rarely sang. He went on to win a Tony and Oscar for his stage and film performances. When the great dancer/singer Fred Astaire had his first audition, the feedback was “Can’t sing. Can dance a little.” True, his voice was light as a reed, but Fred Astaire’s honesty and simple delivery made him one of the most sought-after singers by the leading composers of the 1930’s, including Cole Porter, Irving Berlin, Johnny Mercer, and the Gershwin brothers. These talented composer-lyricists knew that their lyrics would be heard and felt. A slight figure who could really sing (and dance a lot), Fred Astaire became the number one recording artist of his day, introducing more standards from the Great American Songbook than any other singer. He lived his potential.

这就是我对你的梦想——发挥你的潜力。

That is my dream for you – to live your potential.

你为什么喜欢唱歌？

WHY DO YOU LOVE TO SING?

为什么你喜欢在淋浴时唱歌，或者在卧室里紧闭房门对着梳子唱歌，或者在车里无人听见的地方唱歌？这很能宣泄情绪，对吧？你感受自己的情绪，并用歌声表达出来。爱！愤怒！失落！喜悦！这是你的私人爱达荷，没有人能评判你。在私密的空间里放声歌唱，无论好坏，都能带给你快乐。

Why do you love to sing in the shower, or sing into your hairbrush in your bedroom with the door shut tight, or sing in your car where nobody can hear you? It’s cathartic, right? You feel your emotions, and you sing them out. Love! Anger! Loss! Joy! It’s your own Private Idaho where nobody can judge you. Raising up your voice in your privacy, no matter how good or bad it sounds, brings you joy.

在众人面前尽情歌唱，展现真挚、深刻和情感，感觉如何？你会紧张吗？用歌声真实地表达自我，是一段脆弱的旅程。展现这份私密，可能会让人感到无比恐惧。

How about singing in front of people with all that truth, depth, and emotion? Did you just get nervous? Truly expressing oneself through song is a vulnerable journey. Exposing that intimacy can be downright frightening.

许多声乐老师会告诉你，唱歌的关键在于发声技巧。我甚至听到有人说，唱歌时不要让情绪影响你的情绪，而要专注于技巧。当然，技巧非常重要。但唱歌不仅仅是每次都能唱出完美的音符。

Many voice teachers will tell you that singing is all about voice technique. I’ve even heard some say not to let the emotions get in the way of singing and to focus only on technique. Of course, technique matters – a lot. But singing is not just about hitting technically perfect notes every time.

歌唱始于这样一个事实：你是一个活生生的人，有情感需要表达。 在淋浴间、房间里或车里唱歌，没有人能听到你的声音，这能让你与真实的自我连接。你真实的情感贯穿你的歌声，以一种他人能够分享的方式，揭示你的恐惧、脆弱和隐秘的渴望。当你与听众分享你的歌声时，它就变得具有普遍性。其他人能够感受到你，仅仅通过聆听你的歌声，就能释放他们的恐惧、脆弱和隐秘的渴望。

Singing begins with the fact that you are a living, breathing human being with feelings that need to be expressed. Singing in the shower, or in your room or car where nobody can hear you, allows you to connect to your truth. Your real emotions carry you through the song, revealing your fears, vulnerabilities, and secret desires, in a way that others can share. And when you do share your song with an audience, it becomes universal. Others can feel you, and release their fears, vulnerabilities, and secret desires just by listening to your song.

我的方法将所有这些融为一体，将发声技巧与你的情感联系起来，以及如何在歌曲中，甚至公开地，分享你的脆弱。信不信由你，技术层面实际上有助于情感层面——反之亦然。

My method integrates it all, connecting voice technique with your emotions, and how to share your vulnerability in song, even publicly. Believe it or not, the technical side actually helps the emotional side – and vice-versa.

记住这句话：

Remember these words:

你的发声技巧在于你的情绪，你的情绪也在于你的发声技巧

Your voice technique is in your emotions, and your emotions are in your voice technique

歌唱的联系

THE SINGING CONNECTION

老派声音技巧

Old School Voice Technique

传统的声乐老师注重发声技巧，帮助你发出美妙的声音。没错，发声技巧非常重要，但这会让歌手被限制在只关注身体和心灵的小圈子里。

The traditional voice teacher is interested in helping you make a beautiful sound with your voice by focusing on voice technique. Yes, voice technique is extremely important, but this is putting the singer in a little box just focusing on BODY and MIND.

• 了解你的身体如何运作——发声技巧
• Learn how your Body works – Voice Technique
• 运用你的思维– 如何读懂音乐 – 如何进行音乐表达 – 如何制造像渐强和渐弱这样的力度变化
• Use your Mind – how to read music – how to do musical phrasing – how to make dynamics like crescendo and diminuendo

如何在深深打动观众的同时，发现自己独一无二的嗓音？将发声技巧与情感完美结合，才是真正发挥嗓音潜能的秘诀。

How about deeply moving an audience, and at the same time, discovering your personal one-of-a-kind tone? The combination of connecting voice technique with your emotions is the secret of reaching one’s true vocal potential.

现在我们给老式语音技巧添加一个元素：情感

Now we add one more element to the Old School Voice Technique: Emotions

身体 – 心灵 – 情绪

BODY – MIND – EMOTIONS

你就是容器。以下是如何找到你真正声音的过程：

YOU are the VESSEL. This is the process of how to find your true voice:

• 了解你的身体如何运作——发声技巧
• Learn how your Body works – Voice Technique
• 用你的头脑去理解所有的概念
• Use your Mind to understand all of the concepts
• 勇敢地走进你的情绪
• Courageously step into your Emotions
• 并唱歌
• and SING
• 发送——让您的礼物以最强大、最有活力的方式呈现
• SEND – and let your gift LIVE in the most powerful and dynamic way possible

你的思想、身体和情绪

Your Mind, Body, and Emotions

穿过你

go through you

– 船只 –

– THE VESSEL –

身体 Body	头脑 Mind	情绪 Emotions
嗓音 Voice	智力 Intellect	情怀 Feelings
发声技巧 Voice Technique	思考 Thoughts	情感生活 Emotional Life
肉体 Physical Body	想像力 Imagination	亲密关系 Intimacy
空气 Air	认识 Cognition	漏洞 Vulnerability
振动 Vibration	行动 Action	感觉 Sensation

结果很神奇。

and the result is magic.

我称之为

I call it

革命派

THE REVOLUTIONARY SEND

类别

THE CATEGORIES

你现在是谁？ – Home Base

Who are you now? – Home Base

我相信每一位歌手（我说的每一位歌手，指的是每一位拥有声带的人类）都有一个地方，在那里他们的声音可以自然地以某种唱法和唱腔风格存在。我把这个地方称为“本垒”。

I believe that every singer (and when I say every singer, I mean every human being who has vocal cords), has a place where their voice naturally lives as a vocal type and vocal style. I call this the Home Base.

例如，在我的职业生涯初期，我是一名女高音，学习和演唱古典音乐。所以，玛丽·塞特拉基安的“大本营”是受过古典音乐训练的歌手。

For example, at the beginning of my career I started as a soprano, studying and singing classical music. So, Mary Setrakian’s Home Base is The Classically Trained Singer.

我创建了以下类别，方便您快速了解自己的“基地”（或许您认同不止一个）。在我列出的每个类别中，您都会看到我对每位歌手进行分析，并解释他们的特定需求、愿望和障碍，以及我们将如何解决特定原型的问题。

The following categories I have created will give you a glance at your Home Base (maybe you identify with more than one). In every category I list, you’ll see that I diagnose each singer and explain certain needs, desires, and blocks, and how we are going to solve the problem of that particular prototype.

请在以下类别中找到自己，并跳转到与您产生共鸣的类别。以此作为您未来工作安排的提纲。您现在是谁？接下来，您将去往何方？

Please find yourself in The Categories that follow and jump to the ones that resonate with you. Use this as an outline of how you’re going to organize yourself with the work ahead. Who are you now? And, where are you going from here?

类别

THE CATEGORIES

受过古典训练的歌手

The Classically Trained Singer

音乐剧/百老汇歌手

The Musical Theatre / Broadway Singer

流行 / 摇滚 / 爵士 / R&B / 乡村歌手 / 说唱歌手

The Pop / Rock / Jazz / R&B / Country Singer / Rapper

演员

The Actor

舞者

The Dancer

指挥家/作曲家/乐器演奏家

The Conductor / Composer / Instrumentalist

你在淋浴时唱歌

You Sing In The Shower

你觉得自己五音不全

You Think You’re Tone Deaf

 

 

受过古典训练的歌手

The Classically Trained Singer

如果您的“基地”是受过古典训练的歌手，那么您可能与以下一项或多项相关：

If your Home Base is The Classically Trained Singer, you may relate to one or more of the following:

• 你是一名专业歌手
• You are a professional singer
• 您拥有音乐/声乐学位
• You hold a degree in Music/Voice
• 你来自音乐世家
• You come from a musical family
• 你小时候唱歌
• You sang as a child
• 你曾跟随一位或多位声乐老师学习古典音乐
• You’ve studied classical music with one or more voice teachers
• 你想成为一名职业歌手
• You want to be a professional singer

您可能遇到的问题：

Problems you might have:

• 你学了很多唱歌技巧，但并不总是有效
• You’ve studied a lot of singing technique, but it doesn’t always work for you
• 你觉得自己技术熟练，但希望更好地与材料联系起来
• You feel technically proficient, but you’d like to connect to the material better
• 你总是担心自己听起来是否足够好
• You’re always worried if you sound good enough
• 你没有意识到自己的所有需求和情绪——你的事业和个人生活并没有按照你想要的方式发展
• You’re not in touch with all of your needs and emotions – Your career and personal life aren’t going where you want them to go

让我们解决这些问题：

Let’s solve the problems:

• 我们将一起研究唱歌技巧，以真正理解它——有了这种清晰度，唱歌就变得毫不费力，因为它正是你的身体运作的方式和你的身体想要的
• We will look at the singing technique together in the quest to really understand it – With this clarity, the singing becomes effortless because it’s exactly how your body works and what your body wants
• 我们将踏上旅程，将您的情感生活与您的发声技巧连接起来，使它们无缝协作：您的发声技巧存在于您的情感中 – 您的情感存在于您的发声技巧中 – 如果您只关注发声技巧，那么您就无法发出最美妙的声音
• We will take the journey to connect your emotional life with your voice technique so that they work seamlessly together: Your voice technique is in your emotions – Your emotions are in your voice technique – If you just focus on voice technique, you’re not attaining the most beautiful sound you can make
• 我们将添加情感工具，利用你的过去、你的想象力以及你对艺术家的真实感受
• We’ll add the emotional tools of using your past, your imagination, and your true feelings for your artist
• 打开你的情绪，用歌声来表达，这将打开你存在的方方面面——帮助你的事业和个人生活蓬勃发展
• Opening your emotions and singing through them will open every aspect of your being – helping your career and personal life blossom

音乐剧/百老汇歌手

The Musical Theatre / Broadway Singer

如果您的 Home Base 是音乐剧/百老汇歌手，您可能与以下一项或多项相关：

If your Home Base is The Musical Theatre / Broadway Singer, you may relate to one or more of the following:

• 你从事音乐剧工作
• You work in musicals
• 你拥有戏剧学位，并且/或者正在学习唱歌、表演和舞蹈
• You hold a degree in Theatre, and/or are studying to sing, act, and dance
• 你来自音乐世家
• You come from a musical family
• 你小时候总是表演
• You were always putting on shows as a child
• 你的梦想是登上百老汇
• Your dream is to be on Broadway

您可能遇到的问题：

Problems you might have:

• 你的声音很棒，但你却得不到你想要的工作
• You have a really great voice, but you aren’t getting the jobs you want
• 你知道你有表演天赋，但不确定如何将这种天赋运用到唱歌中
• You know you have acting talent, but aren’t sure how to apply that talent to your singing
• 作为百老汇歌手，你必须每周演唱八场——你需要更多的耐力
• As a Broadway Singer, you must sing eight shows a week – you need more stamina

让我们解决这些问题：

Let’s solve the problems:

• 我们将把你的表演天赋与你的声音结合起来，识别并运用表演工具，让你在试镜和舞台上的表现更上一层楼
• We will connect your acting talent with your voice, identifying and applying the acting tools that will take your work to the next level in both auditions, and on the stage
• 我们将一起研究唱歌技巧，以确保你即使每周有八场演出，也能唱得非常顺畅，嗓音健康
• We will look at the singing technique together to make sure you’re singing with great vocal ease and vocal health, even with a schedule of eight shows a week
• 当你意识到只有你才拥有的特殊品质时，你作为表演者的天赋就会显现出来——你 足够优秀
• Your gifts as a performer will reveal themselves as you become aware of the special qualities that only you have – You are enough

流行 / 摇滚 / 爵士 / R&B / 乡村歌手 / 说唱歌手

The Pop / Rock / Jazz / R&B / Country Singer / Rapper

如果您的 Home Base 是流行 / 摇滚 / 爵士 / R&B / 乡村歌手 / 说唱歌手，您可能与以下一项或多项相关：

If your Home Base is The Pop / Rock / Jazz / R&B / Country Singer / Rapper, you may relate to one or more of the following:

• 你有一个乐队
• You have a band
• 您拥有音乐学位
• You have a degree in Music
• 你从小就开始唱歌
• You’ve been singing since you were a child
• 你欣赏的艺术家影响了你的作品
• Artists you admire influence your work
• 你吃饭、呼吸、听音乐
• You eat, breathe, and live music

您可能遇到的问题：

Problems you may have:

• 您经常感到声音疲劳和/或失声
• You often get vocally tired and/or lose your voice
• 有时你可能会听到自己跑调了，但你不知道该如何纠正
• You can hear that you’re off pitch sometimes, but you don’t know how to fix it
• 你喜欢唱歌，拥有丰富的曲目，但你希望与你的歌曲建立更深的联系
• You love singing and have an extensive repertoire, but you want to have a deeper connection with your songs
• 你认为自己很优秀，但你希望拥有更大的粉丝群
• You think that you’re really good, but you’d like a bigger fan base

让我们解决这些问题：

Let’s solve the problems:

• 一些声乐老师认为，唱古典音乐是掌握良好发声技巧和正确演唱的唯一方法——他们说，如果你用其他风格唱歌，你会伤害你的声音——我来自一个古典技术家庭，但我找到了一种将这些工具与每种风格联系起来的深刻方法——我的技术将证明，你可以用你喜欢的任何风格唱歌，拥有良好的嗓音健康和深刻的联系
• Some voice teachers believe that singing classical music is the only way to have a good voice technique and sing properly – They say that if you sing in other styles you’ll hurt your voice – I come from a classical technique, but have found a profound way to connect those tools to every style – My technique will prove that you can sing in any style you love with great vocal health and a deep connection
• 即使你精力充沛、嗓音动听、舞台表现力惊人，但还有更多——我们将共同探索如何将真实的自我与你的作品联系起来——你的粉丝们会排起长队
• Even if you’ve got a lot of energy, an amazing voice, and fantastic stage presence, there is something more – We will explore together how to connect your true self to your work – You’ll have fans lining up around the block

演员

The Actor

如果你的基地是演员，你可能与以下一项或多项相关：

If your Home Base is The Actor, you may relate to one or more of the following:

• 你是一名专业演员
• You’re a professional actor
• 你有表演学位
• You have a degree in Acting
• 你曾跟随一位或多位老师学习过表演
• You have studied acting with one or more teachers
• 你自称是演员
• You call yourself an actor

您可能遇到的问题：

Problems you might have:

• 你喜欢唱歌，并且想多唱歌
• You love to sing and want to do it more
• 你知道你会唱歌，但这让你感到害怕
• You know you can sing, but it intimidates you
• 你知道你唱歌很糟糕，但你还是想唱
• You know you’re a terrible singer, but you want to do it anyway
• 你害怕唱歌
• You’re scared to death of singing
• 有时你会缺乏自信
• You have low self-confidence sometimes

让我们解决这些问题：

Let’s solve the problems:

• 因为你是一名演员，所以你已经领先一步了——你有一些非常特别的东西可以带给歌唱：你的表演技巧
• Because you’re an actor, you’re already ahead of the game – You have something very special to bring to singing: your acting technique
• 通过我的发声技巧，我们将把你作为演员的辛勤工作与你的歌声联系起来
• With my voice technique we are going to connect the hard work you’ve already done as an actor with your singing
• 唱歌是从说话开始的，作为一名演员，你已经知道如何说话了——唱歌的技巧将有助于表演
• Singing starts from talking, and, as an actor, you already know how to talk – And the singing technique will help the acting
• 你会更加自信——让我们为你打开更多的人生之门
• You will have more self-confidence – Let’s open more doors in your life

舞者

The Dancer

如果你的“基地”是舞者，你可能与以下一项或多项相关：

If your Home Base is The Dancer, you may relate to one or more of the following:

• 你是一名专业舞者
• You’re a professional dancer
• 你有舞蹈学位
• You have a degree in Dance
• 你喜欢音乐剧
• You love musical theatre
• 你小时候总是在家里跳舞
• You were always dancing around the house as a child
• 你曾担任过舞蹈演员，或参加过许多学校音乐剧和/或舞蹈团
• You have worked as a dancer, or been a part of many school musicals and/or dance troupes
• 你想在音乐剧中担任专业演员或成为流行歌手
• You want to work professionally in musical theatre or as a pop star

您可能遇到的问题：

Problems you might have:

• 你可以唱歌，但你希望你的声音更有力
• You can sing, but you’d like your voice to be stronger
• 一边跳舞一边唱歌很难
• It’s hard to sing while you’re dancing
• 当你试镜时，你总是担心你的声音是否足够好
• When you audition, you always worry if you sound good enough
• 你唱歌时会很紧张
• You get so nervous singing
• 你感觉生活中别人听不到你的声音——很难清楚地表达自己
• You don’t feel that people hear you in your life – It’s hard to make yourself clear

让我们解决这些问题：

Let’s solve the problems:

• 一旦你理解了声音技巧，你就可以让它与你的舞者并肩而行
• Once you understand the voice technique, you can make it live side by side with your dancer
• 你现在会称自己为演员了——作为一名舞者，你已经是演员了——你对某些舞蹈风格有信心吗？是什么让你如此优秀？你相信自己性感吗？运动能力强吗？跳舞时充满情感吗？我们会将你作为舞者已有的表演元素与你的声音联系起来。
• You will now call yourself an actor – As a dancer, you’re already an actor – Are you confident in certain styles of dance? What makes you so good? Do you trust that you are sexy? Athletic? Emotional when you dance? We will connect the acting elements you already have as a dancer with your voice
• 在试镜中，无论评委是否喜欢你，你最终都可以专注于真正的工作
• In auditions you’ll finally be able to focus on the real work whether the judges like you or not
• 你会发现生活中缺失的真理——你将能够表达你的意思
• You will find the truth in your life that is missing – You’ll be able to say what you mean

指挥家/作曲家/乐器演奏家

The Conductor / Composer / Instrumentalist

如果您的职业定位是指挥家/作曲家/乐器演奏家，您可能与以下一项或多项相关：

If your Home Base is The Conductor / Composer / Instrumentalist, you may relate to one or more of the following:

• 你是一名专业音乐家
• You’re a professional musician
• 您拥有音乐学位
• You have a degree or degrees in Music
• 你是一位训练有素的音乐家
• You’re a highly trained musician
• 你经常和歌手合作
• You work with singers all of the time
• 你有极好的听力，甚至可能是完美的音高
• You have a fantastic ear, maybe even perfect pitch
• 你从小就开始学习音乐
• You’ve been studying music since you were a child
• 你想成为一名职业音乐家
• You want to be a professional musician

您可能遇到的问题：

Problems you might have:

• 你可以准确地听出歌手的声音出了什么问题，但当你告诉他们哪里出了问题时，他们却无法运用你的音符
• You can hear exactly what’s wrong with the singers’ voices, but when you tell them what is wrong, they aren’t able to apply your notes
• 你无法总是从歌手那里获得素材的情感内容
• You can’t always get from your singers the emotional content of the material
• 你喜欢唱歌，但你知道你可以唱得更好
• You like to sing, but you know you could sound better
• 人们认为你自负且自以为是
• People think you are egotistical and full of yourself

让我们解决这些问题：

Let’s solve the problems:

• 是时候走进你的情感生活，并将其与声音技巧联系起来——这将有助于你成为一名音乐家
• It’s time for you to walk in your emotional life and connect it to voice technique – It will help your craft as a musician
• 这种技术将身体、思想和情感连接起来——作为一名歌手，你的身体就是你的乐器——你创作音乐的所有热情都将存在于你的身体中，并与你的情感相连——我们将把你的作品提升到一个新的水平
• This technique connects the body, the mind, and the emotions – As a singer, your body is your instrument – All of your passion to create music will live in your body, and connect to your emotions – We will bring your work to a new level
• 因为你站在歌手的角度，将声音技巧与情感生活联系起来，你将直接了解如何与你的歌手谈论你的项目
• Because you are walking in the shoes of a singer connecting voice technique with the emotional life, you will understand firsthand how to talk to your singers for your projects
• 你会明白你是谁——分享你在艺术中的亲密感会让你生活中的人更亲近你
• You will understand who you are – Sharing your intimacy in your art will bring those in your life closer to you

你在淋浴时唱歌

You Sing In The Shower

如果您的“家庭基地”是“您在淋浴时唱歌” ，那么您可能与以下一项或多项相关：

If your Home Base is You Sing in the Shower, you may relate to one or more of the following:

• 你暗自喜欢在公共场合唱歌
• You secretly would love to sing in public
• 你在合唱团或者想加入合唱团
• You’re in a chorus or would love to join one
• 你的朋友认为你的声音很棒
• Your friends think you have a great voice
• 你喜欢唱歌
• You love to sing

您可能遇到的问题：

Problems you might have:

• 你的家人告诉你，你不能靠唱歌谋生——就像你的妈妈说的，“亲爱的，这很好，但是你什么时候才能找到一份真正的工作呢？”
• A family member told you that you can’t make a living singing – like your mom saying, “That’s nice honey, but when are you going to get a real job?”
• 你经常把自己与其他歌手进行比较
• You constantly compare yourself to other singers
• 你有沟通障碍
• You have trouble communicating
• 你并不总是对工作感到满意，并且感觉生活陷入困境
• You aren’t always happy in your job and you feel stuck in your life

让我们解决这些问题：

Let’s solve the problems:

• 如果你在淋浴时唱歌，并且拿起这本书，也许你想更认真地对待你的唱歌——如果是这样，那就开始吧
• If you sing in the shower and you picked up this book, maybe you want to take your singing more seriously – If so, let’s go
• 关于唱歌的讨论已经够多了——是时候唱歌了——你做到了，你正在做，它已经完成了
• Enough of talking about singing – It’s time to SING – You did it, you’re doing it, it’s done
• 唱歌是一种沟通的渠道——因为你允许自己唱歌，你将能够在生活的各个方面更好地沟通
• Singing is a channel of communication – Because you’re giving yourself the permission to SING, you’ll be able to communicate better in all areas of your life

你觉得自己五音不全

You Think You’re Tone Deaf

如果您认为自己五音不全，并且没有家庭基地，您可能会遇到以下一项或多项情况：

If You Think You’re Tone Deaf and don’t have a Home Base, you may relate to one or more of the following:

• 你暗自喜欢唱歌
• You secretly would love to sing
• 听音乐是你生活中很重要的一部分
• Listening to music is a huge part of your life
• 当没有人听的时候，比如当你独自一人在车里时，你会放声歌唱
• When no one is listening, like when you are alone in your car, you sing at the top of your lungs

您可能遇到的问题：

Problems you might have:

• 家人、朋友或老师告诉你不要唱歌
• A family member, friend, or teacher told you not to sing
• 你不止一次听到过有人说你的声音很糟糕
• You’ve heard more than once that you have a terrible voice
• 你可能听出自己跑调了，但你不知道该如何纠正
• You can hear that you’re off pitch, but you don’t know how to fix it
• 你感觉生活陷入困境，无法说出所有想说的话
• You feel stuck in your life, and are not able to say everything you need to say

让我们解决这些问题：

Let’s solve the problems:

• 你觉得自己五音不全吗？我不这么认为——没错，好嗓子的天赋有高低之分，但别放弃——你会发现，当你运用我的方法——发声技巧和情感生活——你就能成为一名歌手。
• You think you are tone deaf? I don’t – True, there are different levels of the gift of a good voice, but don’t give up – You’ll find that when you implement the two sides of my method – voice technique and the emotional life – you will be a singer
• 当你用正确的技巧释放你的声音，然后用歌曲讲述一个对你有意义的特定故事时，音调就会对齐——“音盲”的类别消失了——这是一个奇迹
• When you free your voice with the right technique, and then tell a specific story that means something to you through song, the pitches will line up – The category of “tone deaf” disappears – It’s a miracle
• 你将凭借你独一无二的力量更好地说话和交流
• You will speak and communicate better with your one-of-a-kind power

本书的组织方式

HOW THE BOOK WILL BE ORGANIZED

要想完全掌控自己的声音，你必须对你的乐器——你自己——负责。我在这里想与大家分享那些改变了我人生的工具。我将这些工具整理得简洁易懂。

To take full command of your voice, you must take responsibility for your instrument – YOU. I’m here to share with you the tools that changed my life. I’ve organized these tools such a way that they are easy to follow.

在第一部分（前十章）中，我将引导您了解我的方法—— “革命性发声”以及“练习方法”。（所有练习均以灰色阴影背景突出显示。）除了描述性内容外，您还将阅读许多关于我曾教过的学生的故事，从著名的超级明星到来自世界各地的学生。我甚至将我的个人经历也融入本书中。我们将讲解我们在学习声乐时经常听到的令人困惑的短语，并破除一些关于歌唱的迷思。在第二部分中，您将在一个地方找到所有练习，以便您随时可以随时使用。此外，本书还包含一个针对您嗓音的疗愈练习。

In Part I, the first ten chapters, I will guide you through my method, The Revolutionary Send, as well as the “how to exercises.” (All exercises are highlighted by a gray shaded background.) Alongside the descriptive content, you’ll read many stories about the students I’ve worked with, from famous superstars to students from around the world. I’ve even included my personal stories of my journey in this work. We will make clear the Confusing Phrases we often hear when studying voice and bust some Myths about singing. In Part II, you’ll find all the exercises in one place, so you’ll have them available any time you need them. In addition, there’s a Healing Exercise for your voice.

我建议你按顺序通读本书。即使你已经学习过某个元素，也请不要跳过任何章节或练习。你可能会发现一些你从未想过的调整，或者对你有帮助的调整。无论如何，练习总是好的！（我已经教授这些元素几十年了，每次教的时候，我都会练习。）然后，当你想专注于你个人需要的部分时，可以随时回头学习——无论是理解支持——唱高音——将你的脆弱与你的歌声联系起来——从故事中获得灵感——准备一首歌，等等。

I suggest that you read the book straight through in order. Even if you’ve already studied a certain element, please don’t skip a chapter or an exercise. You might find a tweak you never thought of, or an adjustment that helps you. And in any case, it’s always good to practice! (I’ve taught these elements for decades now, and every time I teach them, I get to practice too.) Then, go back any time you want to focus on the sections that you personally need – whether it’s to understand Support – sing high notes – connect your vulnerability to your singing – be inspired by a story – prepare a song, etc.

我希望这些页面能够引导您找到自己真正的声音——为您的事业、您的社区、您的生活提供工具和灵感。

I want these pages to be a guide for you to find your true voice – to give you the tools and inspiration – for your career, your community, your life.

 

 

介绍

introduction

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欢迎来到革命派遣！

Welcome to The Revolutionary Send!

我的方法“革命性发送”包含两个方面：声音技巧方面和情感生活方面。每个方面都包含五个要素：

There are two sides to my method, The Revolutionary Send: The Voice Technique Side and the Emotional Life Side. Each side has five elements:

发声技巧的五个要素

Five elements of Voice Technique

情感生活的五个要素

Five elements of the Emotional Life

我们将在本书中逐一介绍这十个要素，并在讲解过程中逐一核对。

We are going to walk through each of the ten elements over the course of this book and check off each one together as we go.

无论你是谁——专业歌手、合唱团成员、社区戏剧爱好者、唱不准《生日快乐歌》音准的人，还是只想提高说话嗓音的人，我都会用同样的方式为每位学生开设第一堂声乐课。我们会从我方法中“发声技巧”部分的前三个要素开始。

No matter who you are – a professional singer, a member of a choir, a lover of community theater, someone who can’t sing “Happy Birthday” on pitch, or someone who just wants to improve your speaking voice, I start the first voice lesson the same way with every student. We begin with the first three elements on the Voice Technique Side of my method.

1. 呼吸

1. THE BREATH

2. 支持

2. SUPPORT

3. 共振

3. RESONANCE

这三个要素不仅对唱歌很重要，也是保持良好嗓音健康说话的三个基本工具。“唱歌源于说话。”

These three elements are not only important for singing. They are the three essential tools for speaking with great vocal health.“Singing is born out of speaking.”

第一章

chapter one

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呼吸

THE BREATH

十一岁，身高六英尺

ELEVEN YEARS OLD AND SIX FEET TALL

我为什么感觉自己快要死了？

Why do I feel like I’m going to die?

我很荣幸能与一群才华横溢的青少年一起工作——大约20名来自圣马丁岛的青少年。他们都来到纽约，参加一个名为“艺术拯救生命”的项目。

I had the great privilege of working with a talented youth group – about twenty tweens and teenagers from St. Maarten. They all came to New York City to study in a program called Art Saves Lives.

孩子们走进门时，我能看出他们那天都决心要跟我一起唱歌，个个兴高采烈地跑到座位上。班里最小的女孩十一岁，身高六英尺。她可爱动人，说话轻声细语，看起来和那些十八岁迷人的小姑娘一样渴望学习。

As the kids walked through the door, I could tell they were committed to sing with me that day, all happily scurrying to their seats. The youngest girl in the class was eleven years old, and six feet tall. She was darling, soft-spoken, and seemed just as eager to learn as the eighteen-year-old charming young adults.

工作坊一如既往地从第一个要素——呼吸（吸气）开始。在开始分析肺部工作原理之前，我立即注意到孩子们在呼吸方面存在一个最常见的问题：吸气时，吸气位置过高，位于胸部上方，靠近锁骨。我称之为“恐慌呼吸”。幸运的是，在我的指导下，他们都能够将这种“恐慌呼吸”改为身体自然的呼吸方式：用肺底呼吸，腹部舒展收缩（就像晚上睡觉时那样），我称之为“经济呼吸”。

I began the workshop as I always do, with the first element, The Breath (the inhale). Before beginning my analysis on how the lungs work, I immediately observed that the kids had one of the most common problems with The Breath: inhaling way high in the chest, up around the clavicles. I call it the Panic Breath. Fortunately, after my instruction, they were all able to change the high Panic Breath to the breath that the body uses naturally: breathing at the bottom of the lungs with the tummy releasing out and in (just the same as sleeping at night), which I call the Economical Breath.

现在，她们的呼吸已经调整到完美状态，我准备开始第二个元素，支援。突然，最小的女孩举起了手。

Now, with their breath adjusted perfectly, I was ready to move onto the second element, Support. Suddenly, up shot the hand of the youngest girl.

“玛丽……”

“Mary…”

“是的？”

“Yes?”

“为什么我感觉我快要死了？”

“Why do I feel like I’m going to die?”

（暂停）

(Pause)

“哦。你感觉自己快要死了吗？”

“Oh. You feel like you’re going to die?”

“是的，”她平静地说道。

“Yes,” she said serenely.

“好吧……”我整理了一下思绪，“我们一起想想吧。你十一岁了，对吧？”

“Well…,” I collected my thoughts, “let’s think about this together. You are eleven years old. Right?”

“正确的。”

“Right.”

“就你的年龄来说，你身高已经够高了——六英尺？”

“And you’re quite tall for your age – six feet tall?”

“正确的。”

“Right.”

“我能想象这并不容易。是真的吗？”

“And I can imagine that that’s not easy. Is that true?”

“是的。”

“Yes.”

“那么，在我们进行‘经济呼吸’练习之前，你的呼吸都是用力的，对吗？”

“So, before we did the Economical Breath, you were breathing high at the top of your lungs. Right?”

“是的。”

“Yes.”

当我们在恐慌呼吸中用力呼吸时，我们是在逃避真实的感受。你看，经济呼吸实际上能让我们触及真实的情绪。你不想感受到任何痛苦的情绪，所以你收紧腹部，呼吸的气息高过你的感受，在你的胸腔深处。但现在，通过切换到经济呼吸，你才发现自己究竟是什么感受：你在生活中四处走动，感觉自己快要死了。

“When we breathe at the top of the lungs in the Panic Breath, we are avoiding our real feelings. You see, the Economical Breath actually gets us in touch with our true emotions. You didn’t want to feel any painful emotions, so you held your tummy tight and were breathing above your feelings, high in your chest. But now, by changing to the Economical Breath, you just discovered exactly how you feel: You walk around in life feeling like you are going to die.”

“哦，”她轻声说道。

“Oh,” she said softly.

好消息是你不会死！你的呼吸和身体的呼吸一样顺畅，这真的很健康！你在这里很安全。而且你很特别——身高六英尺！当你自然呼吸时，你的身体会释放你正在死去的想法，并意识到你是安全的。嘿，让我们看看会发生什么！我们今天还有四个小时的课。继续呼吸这四个小时的健康气息，看看你下课后感觉如何。好吗？”

“The good news is that you are not going to die! You are breathing like your body wants to breathe, which is really healthy! You are safe here. And you are special exactly how you are – six feet tall! As you breathe naturally, your body is going to release the idea that you are dying and realize that you are safe. Hey, let’s see what happens! We have four more hours in class today. Keep breathing in this healthy breath for the full four hours, and let’s see how you feel at the end of class. Okay?”

“是的！好的！”

“Yes! Okay!”

课程结束时，我和这位可爱的女孩进行了交流。

I checked in with this darling girl at the end of the class.

“那么，你感觉怎么样？”

“So, how do you feel?”

“精彩的！”

“Wonderful!”

呼吸

THE BREATH

1. 语音技术方面

1. Voice Technique Side

呼吸——吸气

THE BREATH – Inhale

目标：了解肺部实际上是如何膨胀的。然后将这种自然呼吸法应用到你自己的呼吸模式中。我称之为“经济呼吸法”。

The Goal: To learn how the lungs in your body actually inflate. Then apply this natural breath to your own breathing patterns. I call it the Economical Breath.

为什么这很重要：胸部呼吸过高、呼吸浅、甚至无意识地屏住呼吸，都是未解决的心理压力和不正确的身体模式的迹象，这些都会在您开始唱歌时阻碍您。

Why This Is Important: Breathing too high in the chest, shallow breathing, and even periods of unconsciously holding your breath, are all signs of unresolved psychological stress and incorrect body patterns that can stand in your way when you start to sing.

需要改变的是：你是否愿意直面那些阻碍你像入睡时那样自然呼吸的问题。对某些人来说，仅仅看到这一点就足够了。而对另一些人来说，直面内心的恶魔或许是必要的。

What Has To Change: Your willingness to confront these issues that are preventing you from letting your body breathe naturally, the way it does when you fall asleep. For some of us, just seeing this pointed out may be enough. For others, confronting our demons may be necessary.

“你会如何描述完美歌手的呼吸——吸气？”

“How would you describe the perfect singer’s breath – the inhale?”

这是我问每个新生的第一个问题。我不是想测试学生。我只是好奇他们学过什么，或者听过什么。答案能让我了解他们吸气时究竟是什么阻碍了呼吸。

That’s the first question I ask every new student. I’m not trying to test the student. I’m only curious what they’ve been taught and/or what they’ve heard. The answers give me clues into what, if anything, is blocking their breath as they inhale.

以下是我经常听到的一些答案。有些说法是错误的，有些可能是正确的，但如果不进一步解释，我发现所有这些说法都令人困惑：

The following phrases are some of the answers I often hear. Some of the phrases are wrong, some of them could be right, but I find all of them to be confusing without further explanation:

容易混淆的短语——呼吸：

CONFUSING PHRASES – THE BREATH:

1.“吸气至腹腔”

1. “Breathe into your belly”

2.“吸气至横膈膜”

2. “Breathe into the diaphragm”

3.“把肚子撑出来”

3. “Push your stomach out”

4.“深吸一口气”

4. “Take a low, deep breath”

5.“尽可能多地补充空气”

5. “Tank up as much air as possible”

6.“吸气至背部”

6. “Breathe into your back”

7.“像轮胎一样在你的肋骨周围加油”

7. “Tank up like a tire around your ribs”

我们将在本章末尾回顾这些容易混淆的短语，并逐一进行分析。不过首先，我们先来学习如何呼吸：

We will go back to these Confusing Phrases at the end of the chapter and examine each one. But first, let’s learn how to breathe:

了解身体已知的信息

LEARNING WHAT THE BODY ALREADY KNOWS

呼吸

Just Breathe

我们总是听到“只要呼吸就好”。听起来很简单，对吧？我的意思是，我们必须呼吸才能生存，然而对一些人来说，由于压力和不良习惯，“自然”呼吸可能会变得很复杂。

We hear it all the time – Just breathe. Sounds simple, right? I mean, we must breathe to stay alive, and yet for some, to breathe “naturally” can be complicated because of stress and bad habits.

身体会养成一些不良习惯，阻碍“自然”呼吸。肌肉记忆力很强，所以如果养成了错误的习惯，可能需要一段时间才能改变。正确的练习才能形成良好的肌肉记忆。让我们从一开始就正确练习吧！

The body can learn bad habits that hinder the “natural” breath. Muscle memory is strong, so if wrong habits are in place, it may take time to change those old patterns. Correct practice makes for good muscle memory. Let’s practice correctly from the beginning!

我们的任务是学习身体已知的知识。让我们学习像晚上睡觉时自然吸气一样。这才是我们想要在说话、唱歌和生活中磨练的“经济呼吸”。

Our task is to Learn what the body already knows. Let’s learn to inhale as we naturally do when we sleep at night. That is the Economical Breath we want to hone for speaking, singing, and life.

“肺在哪里？”

“Where are the lungs?”

肺位于胸腔内。我们必须将空气吸入肺部。听起来很简单，但有时我们会被误导。

The lungs are located in the chest cavity. We must breathe into the actual lungs. Sounds easy, but sometimes we are led astray.

“当你晚上睡觉时不去想它，身体是在肺顶部吸气，还是在肺底部吸气？”

“When you are sleeping at night not thinking about it, does the body inhale at the top of the lungs, or at the bottom of the lungs?”

如果你说的是肺底，那你没错！肺底指的是胸腔底部周围的区域。想象一下从那里开始吸气。

If you said the bottom of the lungs, you’re right! The bottom of the lungs is the area around the bottom of the ribcage. Think of starting your inhale there.

贝拉·索恩

Bella Thorne

吸气至肺底

Breathe into the Bottom of the Lungs

17岁的迪士尼明星贝拉·索恩冲进我的工作室。“抱歉我迟到了。狗仔队一直在跟踪我。”贝拉似乎对摄影师感到慌乱，就像她必须在声乐课上唱歌一样。

Seventeen-year-old Disney starlet Bella Thorne rushed into my studio. “Sorry I’m late. The paparazzi were following me.” Bella seemed as flustered with the photo-graphers as she was with the fact that she had to actually sing at her voice lesson.

“我知道你即将上映一部电影—— 《午夜阳光》——你在剧中扮演一名歌手/词曲作者？”

“I understand you have a movie coming up – Midnight Sun – and you’re playing a singer/songwriter?”

“是的，但我不喜欢唱歌。”

“Yes, but I don’t like to sing.”

“有趣的是，你选择拍这部电影。”

“Interesting that you chose to do this movie then.”

“嗯，我唱歌不是按音调唱的。”

“Well, I don’t sing on pitch.”

“我们会解决这个问题。”

“We’ll fix that.”

“而且，我讨厌声乐课。”

“And, I hate voice lessons.”

“没问题，我讨厌声乐老师。”贝拉瞪大了眼睛。“我们开始吧，一起想办法。”

“No problem, I hate voice teachers.” Bella’s eyes widened. “Let’s get to work. We’ll figure it out together.”

我们像往常一样从呼吸开始。每个人都不一样，但贝拉的呼吸非常浅，腹部绷得像鼓一样。为什么？贝拉从小就是职业模特和舞蹈演员，所以她从小就被教导要时刻绷紧腹部。此外，名声带来的压力——比如狗仔队的追逐——让她压力山大，不得不屏住呼吸。当我指导贝拉放松绷紧的腹部，让空气像身体自然呼吸一样进入肺部时，她看起来很高兴，准备好唱歌了。

We began as I always do – with The Breath. Everyone is different, but for Bella, her breath was super shallow, and she was holding her stomach as tight as a drum. Why? Bella had been a professional model and dancer since she was a little girl, so she was taught to always hold her stomach tight. In addition, being stressed out by the craziness that fame can bring – like the paparazzi running after her – she was literally holding it together. When I instructed Bella to release her tight tummy and to let the air enter into the bottom of her lungs just as her body does naturally, she looked happy and ready to sing.

贝拉·索恩主演了她的第一部电影音乐剧《午夜阳光》，她的歌声优美、悲情，音准完美——这要归功于她新发现的经济气息奠定的基础。

Bella Thorne starred in her first movie musical, Midnight Sun, and sang with beauty, pathos, and perfectly on pitch – thanks to her newly found Economical Breath laying the groundwork.

就在贝拉飞往加拿大录制电影歌曲之前，我不得不问她：“我们第一天见面时，你说过你讨厌声乐课。现在情况有什么变化吗？你现在喜欢声乐课了吗？”她整理了一下思绪，说道：

Right before Bella flew off to Canada to record her songs for the movie, I had to ask her, “You said the first day we met that you hate voice lessons. Has something changed? Do you like voice lessons now?” She gathered her thoughts and said,

“你花时间了解我，与我沟通，还教了我一些真正有用的东西，比如如何呼吸。是的，我喜欢这些声乐课。”

“You took the time to understand me – to connect with me – and you gave me something that I can actually use – like how to breathe. Yes, I like these voice lessons.”

“肺部如何膨胀？”

“How do the lungs inflate?”

著名的横膈膜

The Famous Diaphragm

说到呼吸，我们总是会听到横膈膜（我太频繁了，以至于我称它为名人）。但是横膈膜是什么？它在哪里？它起什么作用？

When it comes to breathing, we always hear about the diaphragm (so much, that I call it famous). But what is the diaphragm? Where is it? What does it do?

横膈膜是一种形状像煎饼的不随意肌，位于肺部正下方，胸腔底部周围。

The diaphragm is an involuntary muscle shaped like a pancake that lives right under the lungs around the bottom of the ribcage.

“横膈膜在空气进入肺部的过程中至关重要，但它是如何工作的呢？”

“The diaphragm is essential in the process of air getting into our lungs, but how does it work?”

想象一下你胸腔里的肺就像两个气球。这两个气球必须膨胀起来你才能呼吸，但它们自己却做不到。

Think of the lungs in your chest like two balloons. These two balloons must blow up for you to breathe, but they can’t do it by themselves.

这是一个我们很少听说的事实：

Here is a fact that we rarely hear about:

颈部两侧各有一条神经，称为 膈神经。

There is a nerve on each side of your neck called the PHRENIC NERVE.

身体说，我的肺需要空气！

The body says, I need air in my lungs!

1. 膈神经“听到”请求并向横膈膜发送信号。

1. The phrenic nerve “hears” the request and sends a signal to the diaphragm.

横膈膜接收信号并做出反应，知道了，老板！

The diaphragm receives the signal and responds, Got it, Boss!

2. 然后奇迹发生了：横膈膜收缩。这会导致两件事发生：当横膈膜下沉到腹腔时，它会推开内脏器官，这样你的肚子就会自然地向外扩张。同时，横膈膜也会下沉，并拉动肺部。这种收缩会在肺部形成真空。

2. Then the magic happens: The diaphragm contracts. This causes two things to happen: As it drops down into the abdominal cavity, the diaphragm pushes aside the organs, so your tummy naturally goes OUT. At the same time, it drops down pulling the lungs with it. This contraction creates a vacuum in the lungs.

3. 由于真空，空气涌入肺部。这就是呼吸！

3. Because of the vacuum, air rushes into the lungs. That’s The Breath!

如何经济地呼吸

How to take an ECONOMICAL BREATH

所有插图按顺序排列

All Illustrations in Order

 

 

经济气息

THE ECONOMICAL BREATH

呼吸——吸气

The Breath – Inhale

* 经济：高效，无需任何额外、不必要的努力

* ECONOMICAL: Efficient without any extraneous, unnecessary effort

您可以做些什么来让每次的呼吸都变得“经济”呢？

What can YOU do to make The Breath – Inhale “economical” every time?

呼吸的时候，你根本不需要去想膈神经和横膈膜。它们是无意识的！让它们自己做吧。

You DON’T want to think about the phrenic nerve and the diaphragm when you breathe. They are involuntary! Let them do their work.

你一定要 思考吸气从肺底开始，空气顺着横膈膜向下流动，而不是上升到胸腔高处。一定要放松腹部，这样横膈膜才能将内脏推开，让空气进入。

You DO want to think about the inhale starting at the bottom of the lungs, and the air following the diaphragm going down – not rising up high in the chest. Be sure to release your tummy OUT so the diaphragm can push aside the organs for the air to enter.

“正确的练习才能完美。” 晚上入睡和清晨醒来时，留意腹部随着呼吸起伏。一天中，检查一下自己是否处于经济呼吸/呼吸状态——比如坐在车里、等电梯或散步时。吸气时，腹部会放松吗？不必完美——只要保持觉知即可。这是一个完美的开始。

“Correct practice makes perfect.” As you fall asleep at night and wake up in the morning, be aware of your tummy rising and falling with The Breath. As you go through your day, check in to see if you are in the Economical Breath/The Breath – like when you are sitting in the car – or waiting for an elevator – or taking a walk. Is your tummy releasing out as you inhale? You don’t have to be perfect – just be aware. That’s a perfect start.

身体习惯

BODY HABITS

训练有素的舞者

The Trained Dancer

导致腹部过紧的其他原因

And Other Reasons the Tummy Can Be Too Tight

专业舞者通常早在三岁就开始训练。训练内容是收腹（并且绝不放松），抬起并拉长优美的颈部，并始终保持向上的姿势。我有一些学生告诉我，他们的“老派”芭蕾老师会用棍子打他们，以强化他们不要按照身体的意愿用肺底呼吸，而要用肺顶呼吸，以保持舞者优美的线条。

Professional dancers often start their training as early as three years old. The discipline is to pull in the belly (and never let it go), lift and elongate the beautiful neck, and always stay pulled up. I have students who told me that their “old school” ballet teachers would hit them with a stick to reinforce not to breathe at the bottom of the lungs as the body desires, but to breathe at the top of the lungs to keep the beautiful line of the dancer.

收腹不仅仅是舞者的习惯。你收腹是为了不显胖吗？或者在健身房锻炼的时候？这些都可能是你收腹的理由！有时，深呼吸可能是暂时的需要——但事实上，它不可能永远有效。就连医生也说过，屏住呼吸会严重损害健康。“经济呼吸法”不仅适用于歌手和演员，也适用于健康的人。

Holding the tummy in is not just a habit for dancers. Do you hold your tummy in to not look fat? Or when you’re working out at the gym? These all could be valid reasons! Sometimes a high breath might be what’s necessary for the moment – but the fact is, it can’t be for always. Even doctors have said that locking the breath can wreak havoc for your health. The Economical Breath is not only for singers and actors, but also to be a healthy human being.

肌肉记忆力很强。如果你习惯收紧腹部，很可能你的呼吸方式与身体要求相反——胸部抬高。你可能需要一段时间才能适应“经济呼吸法”，但我有一个很棒的补救方法！

Muscle memory is very strong. If you have a habit of holding your tummy in tight, chances are you are breathing the opposite way than the body requires – high in the chest. It may take some time to get comfortable with the Economical Breath, but I have a great remedy!

换频道

Changing The Channel

歌手/演员/人类频道

Singer/Actor/Human Being Channel

我七年级的时候，跟托斯卡先生学习西班牙语。托斯卡先生是一位外语老师，在我们学校教四种语言：西班牙语、法语、意大利语和德语。有一天我问他：“托斯卡先生，您是怎么在所有这些语言之间来回切换的？您从来没有搞混过吗？”托斯卡先生回答说：“这就像换电视频道一样：我换频道，我就说另一种语言。”

When I was in 7th grade, I studied Spanish with Mr. Tosca, a foreign language teacher who taught four languages at our school: Spanish, French, Italian, and German. I asked him one day, “Signor Tosca, how do you go back and forth between all of those languages? Don’t you ever get mixed up?” Signor Tosca replied, “It’s just like changing the channel on the television set: I change the channel, I speak another language.”

这真是一幅关于身体和呼吸的绝妙画面！如果你总是在“舞者”频道（或“健身”频道，或“别显胖”频道）呼吸，那就告诉你的身体，你正在切换频道。现在，你要切换到“歌手/演员/人类”频道！任何时候你需要，都可以切换回来。

This is a wonderful image for the body and the breath! If you’re always breathing on Dancer Channel (or Gym Channel, or Don’t Look Fat Channel), tell your body that you’re changing the channel. You are now going to breathe on the Singer/Actor/ Human Being Channel! Whenever you need to, you can change back.

避免情绪

AVOIDING EMOTIONS

呼吸有一种超能力，但它并不总是舒服的：当你与身体的自然呼吸相连时，你也直接与你真实的情感生活相连。这些感觉可以从幸福到绝望。作为歌手，我们的工作就是在歌曲中真实地表达这些情感。然而，作为人类，我们并不总是想意识到这些毁灭性的情绪。这太痛苦了。身体通过将自然的经济呼吸与高恐慌呼吸进行交换来补救这种不舒服的情况。身体将呼吸提升到疼痛之上，并用肺部顶部的空气缓冲区覆盖它。潜意识可能会暂时满足，很高兴能够避免痛苦——但随着时间的推移，有些事情必须放弃。

The Breath has a superpower, but it’s not always comfortable: When you’re connected to the body’s natural breath, you’re also directly connected to your true emotional life. Those feelings can range from bliss to desperation. As singers, it’s our job to truthfully express those emotions in song. As human beings, however, we don’t always want to be aware of those devastating emotions. It’s too painful. The body remedies this uncomfortable situation by exchanging the natural Economical Breath with the high Panic Breath. The body lifts the breath above the pain and covers it with a buffer of air in the top of the lungs. The subconscious mind may be satiated for a while, happy to be avoiding the pain – but with time, something’s got to give.

安娜

Anna

痛苦的礼物

The Gift of Pain

“我正在为一部新戏进行技术排练，”安娜在电话里告诉我。我上次见到我的明星客户还是一年前。她最近有点不舒服，所以很高兴她打来电话。“我很喜欢这部戏，演得非常顺利。但我的呼吸出了点问题。我深呼吸不了。”我能听到安娜的喘息声。“还有，前几天我在等着入场的时候，差点因为喘不过气来而在舞台侧幕晕倒。你有什么呼吸练习可以教我吗？”

“I’m in the middle of tech rehearsal for a new play,” Anna told me on the phone. I had last seen my star client one year earlier. Something was troubling her, so I was glad she called. “I love the play. It’s going so well. But something is going on with my breath. I can’t breathe deeply.” I could hear Anna wheezing. “And the other day while I was waiting for my entrance, I almost fainted right there in the wings from not being able to catch my breath. Do you have any breathing exercises for me?”

从我们一起练习的过程中，我知道安娜的呼吸技巧很棒。这听起来像是恐慌症发作。有什么东西让她难以承受。

From our work together, I knew Anna had an excellent breathing technique. This sounded like a panic attack. Something was overwhelming her.

“我们现在通过电话做个练习怎么样？”我感觉有些情绪即将浮现出来。

“How about we do an exercise over the phone now?” I had a notion that some emotions were well on their way to surface.

“好的，当然可以，”她回答道。

“Okay, sure,” she replied.

“仰卧在地板上，让地板支撑你，然后呼吸。”

“Lie on the floor on your back, let the floor hold you up, and breathe.”

即使是在电话里，倾听症状也是我的专长。（朋友们叫我“声音低语者”。）我能听到安娜的呼吸——她的呼吸在胸腔里高亢。她大口喘气。我知道，恐慌的呼吸掩盖了她真实的情绪，而这些情绪正是答案所在。“就让肚子随着呼吸起伏。”等她高亢的喘息声消退后，我让她多呼吸了一会儿。她的呼气声变得轻柔起来。

Hearing symptoms, even on the phone, is my specialty. (My friends call me the Voice Whisperer.) I could hear Anna’s breath – it was high in her chest. She was gasping for air. I knew that the Panic Breath was hiding her true emotions which held the answer. “Just let the tummy rise and fall with the breath.” When the sound of the high wheezing subsided, I let her breathe a bit longer. Her exhale softened.

“你知道什么？”

“What are you aware of?”

“我要哭了。”她说。

“I’m going to cry.” She said.

“很好。让它流出来吧。你的呼吸现在自由了，你的情绪也得到了释放。你意识到眼泪意味着什么吗？”

“That’s good. Let it come out. Your breath is free now, and it’s freeing your emotions. What are you aware of with the tears?”

（暂停）

(Pause)

“我知道我的男朋友一直在欺骗我，这正是这部戏里的故事。”

“I’m aware that my boyfriend has been cheating on me, and it’s the exact story of the play.”

这就是真相。

And there it was. The truth.

“你一直在用你正在经历的这个故事来做工作吗？”

“Have you been using this story you’re going through for the work?”

“不，我只是在发挥我的想象力。我不想去那里。这部戏竟然在我人生的这个阶段上演，真是太奇怪了。”

“No, I was using my imagination. I didn’t want to go there. It’s so strange that this play arrived at this time in my life.”

“这部戏是你目前人生中最大的礼物，”我告诉安娜。你正在经历剧中角色的痛苦。你的身体渴望感受痛苦，也需要感受痛苦。如果你敢于冒险，揭露这个真相，并 赋予角色，你不仅能治愈自己，还能用你贴近内心的作品，在最深层触动观众。观众不会知道你的人生经历着同样的故事。他们只会觉得你是个才华横溢的演员！你觉得你能把这种痛苦融入到你的作品中吗？”

“This play is the biggest gift you could have in your life right now,” I told Anna. You are living the pain of the character in the play. Your body wants to go there. It needs to go there. If you take the risk to expose this truth and give it to the character, you will not only heal yourself, but you will also touch the audience at the deepest level with your intimate work. The audience won’t know you’re going through the same story in your life. They’ll just think you’re a brilliant actor! Do you think you can use this pain in your work?”

“是的。”她说道。

“Yes.” She said.

她确实做到了。她又能呼吸了。她也获得了热烈的评价。

And she did. And she could breathe again. And she got rave reviews.

“我总是因为害怕而停止呼吸。我允许身体呼吸，然后意识到呼吸保护着我。这是身体的天职！不害怕也没关系。最糟糕的情况是什么？呼吸就是生活！而生活本身就是美好的！”——女演员Cheutine

“I always stopped breathing because I was afraid. I gave my body permission to breathe and realized that breathing protects me. It’s what the body is supposed to do! It’s okay not to be afraid. What is the worst thing that can happen? Breathing is LIVING! And LIVING is a beautiful thing!” – Cheutine, Actress

尼克不会唱流行音乐

Nick Can’t Sing Pop

哭泣来拯救

Sobbing to the Rescue

一位纽约的选角导演打电话给我，让我帮忙。她解释说，百老汇的年轻男主角尼克唱流行歌曲时遇到了困难。嗯——她更直白地说：“尼克唱不了流行歌曲！” 我去见了他，想让他上一堂课。

A New York Casting Director called me to help out. She explained that Nick, a young Broadway leading man, was having trouble singing in the pop style. Well – she put it more bluntly, “Nick can’t sing pop!” I met him for a lesson.

尼克来了，我让他给我唱了一首——罪魁祸首——流行歌曲。尼克美妙的 嗓音和显而易见的表演天赋让我惊叹不已！他的流行风格？太棒了！那么，问题到底出在哪里呢？

Nick arrived, and I had him sing for me – the culprit – a pop song. Nick’s gorgeous voice and obvious acting talent blew me away! His pop stylings? Fantastic! So, what was the problem?

尼克胸腔里呼吸声非常急促——那种恐慌的呼吸声。虽然他的声音很美，但他的躯干却非常紧张，看着他上胸口喘息、起伏，真是令人难以忍受。我猜选角导演也为这种紧张感感到难受，所以决定尼克不能唱流行音乐！

Nick was breathing super high in his chest – the Panic Breath. Even though his voice was beautiful, there was so much tension in his torso that it was excruciating to watch him huff and puff and heave his upper chest. I figured the casting director was also pained by this tension and decided that Nick can’t sing pop!

我们必须弄清楚尼克为什么呼吸时胸部高度这么高，所以我让他在一小时的课程开始时仰卧在地板上，以感受自己的呼吸。重力是消除高位恐慌性呼吸的绝佳工具，在这里它确实奏效了。尼克的第一次吸气非常完美！他的肚子随着经济呼吸毫不费力地起伏。然后……泪水顺着他的脸颊流了下来。

We had to get to the bottom of why Nick was breathing so high in his chest, so I had him start the hour lesson by lying on the floor on his back to get aware of his breath. Gravity is a fantastic asset for eliminating the high Panic Breath, and it worked here. Nick’s very first inhale was perfect! His tummy effortlessly rose and fell with the Economical Breath. And then… tears flooded down his face.

“你知道什么？”我问他。

“What are you aware of?” I asked him.

“我知道我刚刚和未婚夫分手了。”尼克开始抽泣起来。

“I’m aware that I just went through a breakup with my fiancé.” Nick started sobbing.

别去清理！你真正的呼吸正在连接你真实的情感。只需呼吸。这就是你今天的真相。信任。呼吸。存在。

“Don’t clean up! Your true breath is connecting you to your true emotions. Just breathe. This is your truth today. Trust. Breathe. Be.”

整个课程中，尼克都躺在我的地毯上，呼吸，哭泣，整整一个小时。

Nick spent the entire lesson lying on my rug, breathing, and crying for one full hour.

第二天尼克打来电话说：“这是我上过的最好的一课！”当我们再次练习如何将“经济气息”运用到他的演唱中时，尼克的声音变得流畅自然。他看起来气势磅礴，毫无任何紧张感。现在，他的乐器在各种风格中都自由自在——包括流行音乐。

The next day Nick called. “That was the best lesson I’ve ever had!” When we worked again on connecting the Economical Breath to his singing, Nick’s voice flowed effortlessly. He looked like a million bucks without any tension in sight. Now his instrument was free in every style – including pop.

他接的下一个工作是《耶稣基督超级巨星》中的犹大。

The next job he booked was Judas in Jesus Christ Superstar.

屏住呼吸

HOLDING THE BREATH

常见的习惯

A Common Habit

我们很多人都会下意识地屏住呼吸。你还记得高中时，不想让老师点名吗？为了“消​​失”，你屏住了呼吸。或者，你想哭却不敢哭，怕太尴尬？你屏住了呼吸。

Many of us subconsciously hold our breath. Do you remember when you were in high school and didn’t want the teacher to call on you in class? In order to “disappear” you held your breath. Or a time when you needed to cry but didn’t dare to or it would have been too embarrassing? You held your breath.

以下是我们经常说的一些鼓励我们屏住呼吸的流行语：

Here are some catch phrases we say all the time that encourage us to hold the breath:

• 坚持下去
• Hold it together
• 保持镇定
• Keep a stiff upper lip
• 抬起头来
• Chin up
• 不要崩溃
• Don’t fall apart
• 坚持这个想法
• Hold that thought

对我来说，屏住呼吸是我从小养成的习惯。我是家里的“乖乖女”。我以为 情绪有好有坏 ：开心是好的，难过是坏的。笑是好的，生气是男孩的专利。宽容大度是一种美德，眼泪就太多了。所有痛苦、愤怒、失望、失落和孤独等负面情绪都是不好的，我会把它们抛开，用我灿烂的笑声、开朗的性格和积极的精神来掩盖它们——然后——我会屏住呼吸。作为一个成年人，即使我已经克服了那个敏感小女孩压抑的情绪，但有时我仍然会像以前一样屏住呼吸。但是，有了意识的觉察和唱歌的乐趣，即使在压力很大的时候，我也能够“保持呼吸”。

For me, holding my breath was an old pattern from childhood. I was the “good girl” in my family. I thought there were bad emotions and good emotions: Happy was good – sad was bad. Laughing was great – getting angry was just for boys. Being gracious was a virtue – tears were too much. All of the negative feelings of pain, anger, disappointment, loss, and loneliness were bad, and I would put them away and cover them with my fabulous laugh, jovial personality, positive spirit – and – I’d hold my breath. As an adult, even though I’ve worked through the suppressed emotions of that sensitive little girl, at times I still have the old physical mapping of holding my breath. But, with conscious awareness and my joy of singing, I’ve been able to “keep breathing,” even through stressful times.

许多医生说压力会导致屏住呼吸，从而引发身体问题，这或许并不令人意外。难怪这么多人反复出现头痛、哮喘、颞下颌关节紊乱和胃酸反流等问题。

It may not come as a surprise that many doctors say stress can cause physical problems by holding the breath. No wonder so many people have recurring problems like headaches, asthma, TMJ, and acid reflux.

我们能唱歌真是太幸运了！我相信所有歌手都需要挖掘自己最痛苦的情感。在工作中，我们不允许压抑自己的情绪。我们有责任呼吸，用心歌唱，让歌声成为艺术！即使你对成为一名职业歌手不感兴趣，这项工作也能释放你真实的声音，同时帮助你成为一个健康的人。

We are so lucky to sing! I believe all singers are required to excavate their most painful emotions. In the work, we’re not allowed to hold it together. We have a responsibility to breathe – and sing through it – and make it Art! Even if you’re not interested in being a professional singer, this work can free your true voice, and at the same time, help you be a healthy human being.

我热衷于与各行各业的人们分享这些信息。我尝试与一位银行家分享这一点。

My passion is to share this information with everybody from every walk of life. I tried to do just that with a banker.

银行家

The Banker

9/11

9/11

2001年9月11日，世贸中心遭受恐怖袭击仅一周后，我在纽约给我的银行打了电话。我持有一家曾入驻世贸中心大楼的公司的股票。这家公司的股价当时表现不佳（甚至在9/11事件之前也是如此），我正准备出售。我联系了一位代表。当我提到这家公司的名字时，他几乎说不出话来，屏住了呼吸。即使不提这场悲剧，我也能看出这位代表与这家位于世贸中心大楼的公司员工有着私人联系。毫无疑问，那一天他失去了挚友和同事。他正拼命地努力保持镇定。

In New York City, only a week after the terrorist attack on the World Trade Center on September 11, 2001, I called my bank. I owned stock in one of the companies that had been housed at the World Trade Towers. The stock wasn’t doing well (even before 9/11), and I was ready to sell. I spoke to a representative. When I mentioned the name of the company, he could barely speak. He was holding his breath. Even without mentioning the tragedy, I could tell this man had a personal connection with the people at this company in the World Trade Towers. Undoubtedly, he had lost dear friends and colleagues on that day. He was trying desperately to hold it together.

这位代表结结巴巴，但还是像个专业人士一样在电话里和我沟通。他完全没有意识到，他对我说的每一个字都带着颤抖——仿佛在抽泣——但他并没有。我感觉电话那头的这个人快要崩溃了。

The representative stuttered and stammered but forged ahead as a professional working with me on the phone. He was completely unaware that every other word he said to me jolted and shook – as if he was sobbing – but he wasn’t. I had the feeling this man was going to implode on the other end of the phone.

最后，我再也无法忍受，恳求他：“先生，听我说。今天去你的车里，大声喊出来。我是个演员，所以我可以去上课，把我所有的焦虑、痛苦和悲伤都释放到我的工作中。你没有这个出口。如果你一直憋着，你会生病的。”

Finally, not being able to ignore it any longer, I pleaded with him, “Sir, listen to me. Go to your car today and scream at the top of your lungs. I’m an actor, so I can go to class and release all my anxiety, pain, and sorrow into my work. You don’t have this outlet. If you keep holding this inside, you’re going to get sick.”

我说话的时候，那人没有打断我。他好像在听，但从未回应我的话。他完成了交易。我只希望他听到了。

The man didn’t interrupt me as I spoke. It’s as if he was listening, but he never acknowledged what I said. He completed the transaction. I only hope he heard me.

寂静的呼吸

THE SILENT BREATH

吸气时再做一点调整

One More Tweak for the Inhale

经常有人问我吸气的正确方法：是用鼻子呼吸吗？还是用嘴呼吸？瑜伽老师会让你用鼻子吸气。其他人则建议用嘴呼吸。这些方法都有好处，而且在唱歌时都不违法。我说“歌唱源于说话”，当我们说话时，每次呼吸都用鼻子（就像打鼾一样）会很麻烦。对于唱歌来说，这也很麻烦。快速的嘴吸气会导致“喘气”。而且，如果一口气从你的声带旁冲过，你的声带不仅会变干，还会被吹散，必须重新调整才能重新连接起来，这样你才能唱歌。这才叫麻烦！

I’m often asked about the proper way to inhale: Do I breathe through my nose? Do I breathe through my mouth? Yoga teachers will ask you to inhale through the nose. Others suggest mouth breathing. They all have their benefits, and none of them are against the law while singing. I say that “singing is born out of speaking,” and when we speak, it would be quite cumbersome to take every breath through the nose (like you’re snorting). For singing, it’s also cumbersome. Quick mouth inhales can promote “gasping for air.” And, if a “gulp of air” rushes by your vocal cords, your cords not only get dried out, but they also blow open and must recalibrate coming back together so you can sing. Now that’s cumbersome!

为了我们的工作，我希望你运用我所谓的“静默呼吸”：用鼻子和嘴巴同时轻轻吸气。想象你刚吃了一颗薄荷糖，让吸入的感觉像薄荷的泡腾片一样。此外，在进行“经济呼吸”时，想象你可以用脸颊呼吸（就像用鱼鳃呼吸一样）。不要发出声音。不要张开喉咙（喉咙保持中立）。用鼻子、嘴巴和脸颊同时吸气。

For our work, I’d love for you to use what I call the Silent Breath: Take an easy inhale through both your nose and mouth at the same time. Imagine that you just had a breath mint, and let the inhale feel kind of minty effervescent. In addition, as you take your Economical Breath, imagine that you can breathe through your cheeks (like through the gills of a fish). Don’t make a sound. Don’t open your throat (the throat stays neutral). Inhale through your nose, mouth, and cheeks – all at the same time.

这就是静默呼吸。即使你连续唱几个小时，它也能帮助你的声带保持清晰清新。

That’s the Silent Breath. It will help keep your vocal cords clear and fresh, even when you’re singing for hours.

呼气：吸气时，尝试静息呼吸，同时用鼻子、嘴巴呼吸，就像用脸颊呼吸一样。感受薄荷糖般清爽的薄荷味。放松腹部，让横膈膜下沉，为空气腾出空间。

RELEASE INTO THE BREATH: As you inhale, try the Silent Breath breathing through your nose, mouth, and as if you could breathe through your cheeks, all at the same time. Feel the effervescent minty sensation of a breath mint. Release your tummy OUT so the diaphragm can drop down to make room for the air.

妮娜的故事

Nina’s Story

创伤的气息

The Breath of Trauma

你可能想知道妮娜后来怎么样了？她是一位充满热情的演员，嗓音尖细得像米妮老鼠。那天在我的工作坊里，她和全班同学分享了自己的故事：小时候，她的母亲曾多次试图自杀。“我去做了心理治疗，意识到我一直因为创伤而无法发出声音。我很想能够正常地唱歌和说话。你能帮助我吗？”

You may be wondering what happened to Nina, the enthusiastic actress with the high squeaky voice like Minnie Mouse. That day in my workshop she shared her story with the entire class that when she was a little girl, her mother tried repeatedly to commit suicide. “I went to therapy, and I realized that I’ve been holding my voice because of the trauma. I’d love to be able to sing and talk correctly. Can you help me?”

我很高兴妮娜已经和治疗师合作过了。她非常清楚这个问题，并准备好迎接突破。我想尽可能地帮助妮娜做好准备，但又不让她感到惊慌。“当然。还有妮娜，如果今天我们上课练习呼吸时，出现一些强烈的感觉，请不要感到惊讶。”她看起来很高兴。“听起来不错吧？”

I was happy that Nina had already worked with a therapist. She was very aware of the issue and ready for a breakthrough. I wanted to prepare Nina as well as I could without alarming her. “Absolutely. And Nina, don’t be surprised if some intense feelings come up as we work on The Breath today in class.” She looked pleased. “Sound good?”

“听起来不错！”

“Sounds good!”

我们站成一圈，我向大家讲解呼吸。然后我绕着圈子一圈，逐一检查每个学生的呼吸。轮到尼娜了。她那急促的恐慌呼吸看起来像是要勒死她一样。我轻轻地将手放在她的肋骨底部。“在这里呼吸。”尼娜的胸部又起伏了三次。但这不管用。“只要相信气息会进入肺底 —— 就像你晚上睡觉时一样。你的身体知道这次呼吸。它想要这次呼吸。你只需要提醒它。”圈子里的所有学生都愿意让这股气息来到尼娜身边。不知何故，我们都知道，不用说一句话，尼娜呼吸是有风险的。这对她活着来说是一种风险。尼娜现在所能做的就是相信。相信她的身体真的想要呼吸，想要活下去，想要痊愈。她的身体在抵抗，但妮娜一分钟也不想再逃避痛苦——这种痛苦伴随了她的整个童年。

We all stood in a circle as I explained The Breath. Then I went around the circle and checked The Breath of each student one by one. It was Nina’s turn. Her high Panic Breath looked like it was strangling her. I lightly put my hands at the bottom of her ribcage. “Breathe here.” Nina’s chest heaved up three more times. It wasn’t working. “Just trust that the breath will enter into the bottom of the lungs – just like when you sleep at night. Your body knows this breath. It wants this breath. You just have to remind it.” All of the students in the circle became a part of willing this breath to come to Nina. Somehow, we all knew, without saying a word, that Nina taking a breath was a risk. It was a risk for her to be alive. All Nina could now do was to trust. Trust that her body wanted to actually breathe, wanted to live, wanted to heal. Her body resisted, but Nina did not want to avoid the pain one minute longer – the pain that she had lived with her entire childhood.

然后……她第一次正确地呼吸到了肺底。泪水像水晶珍珠一样涌入妮娜钴蓝色的眼眸。她的恐慌渐渐平息。在沉默中，泪水顺着她的脸颊流了下来。

Then it came…the first correct breath at the bottom of her lungs. Tears welled up in Nina’s cobalt blue eyes like crystal pearls. Her panic subsided. In silence, tears began to stream down her face.

“嘿，大家好！妮娜今天可能会哭得全班同学都哭。这样可以吗？你们能支持她吗？” 一声响亮的“是”让妮娜安心地敞开心扉，表达自己的情绪，并保持新发现的呼吸。

“Hey, everyone! Nina may be crying the whole class today. Is that okay? Can you support her in that?” A resounding YES made Nina secure in staying open with her emotions and her newfound Breath.

然后，在十五分钟的课间休息时间，一个学生告诉我妮娜在洗手间吐了。我探头进洗手间，平静地问道：“妮娜，你还好吗？”

Then, on the fifteen-minute break, a student told me that Nina was sick in the bathroom. I poked my head into the ladies’ room and calmly inquired, “Are you okay, Nina?”

“哦，好的，我马上就去。我只是吐了又拉肚子。”

“Oh yes, I’ll be right there. I’m just throwing up and having diarrhea.”

（妮娜平静的声音让我感到惊讶，但也让我受到鼓舞。）

(I was surprised but encouraged by Nina’s calm voice.)

“好的——很好。你的身体第一次消化这些情绪了。你并不孤单，妮娜。慢慢来。”

“Okay – good. Your body is digesting the emotions for the first time. You are not alone in this, Nina. Just take your time.”

我轻松地说道，希望妮娜能找到回教室的路。说“我病了，需要回家”很容易。

I was breezy in my remark, hoping that Nina would find her way back to the classroom. It’s very easy to say I’m sick and I need to go home.

让我高兴的是，十分钟后妮娜出现了。她陪我度过了整个五个小时的治疗，全程都在哭。

To my delight, ten minutes later Nina appeared. She stayed for the entire five-hour session – crying the whole time.

下周，妮娜又来参加我的另一场研讨会，呼吸完全正常了。毒药消失了。呕吐和腹泻的创伤症状也消退了。她那尖细的小女孩嗓音低了好几度，听起来像个年轻女人。

The next week Nina came back for another workshop with me and was breathing 100% correctly. The poison was gone. The traumatic symptoms of vomiting and diarrhea had subsided. Her high, little girl voice came down several notches and resonated as the young woman she was.

妮娜的勇气和毅力至今仍让我敬佩。她正在实现自己的梦想：成为一名职业演员、唱片制作人、名师，甚至可以自豪地称自己为歌手。

Nina’s courage and tenacity impress me to this very day. She’s living her dream as a working actress, a record producer, a master teacher, and she can proudly call herself a singer.

容易混淆的短语——呼吸

CONFUSING PHRASES – THE BREATH

让我们重新回顾并解读本章开头的七个令人困惑的短语。

Let’s revisit and decipher the seven Confusing Phrases from the beginning of the chapter.

容易混淆的短语——呼吸：

CONFUSING PHRASES – THE BREATH:

1.“吸气至腹腔”

1. “Breathe into your belly”

2.“吸气至横膈膜”

2. “Breathe into the diaphragm”

3.“把肚子撑出来”

3. “Push your stomach out”

4.“深吸一口气”

4. “Take a low, deep breath”

5.“尽可能多地补充空气”

5. “Tank up as much air as possible”

6.“吸气至背部”

6. “Breathe into your back”

7. 像轮胎一样在肋骨周围加油

7. Tank up like a tire around your ribs”

让我们逐一检查一下：

Let’s examine each one:

1. “吸气到腹部。”老师们用这句话来鼓励学生不要吸气到高位胸部。对于“恐慌性呼吸”练习者来说，这句话可能有助于调整高位呼吸。但是，“吸气到腹部”这句话的有效性存在一个问题：腹部没有肺。如果你试图将空气推入腹部，而不是从肺部底部、胸腔周围开始吸气，仪器可能会被卡住。

1. “Breathe into your belly.” Teachers use this phrase to encourage the student not to breathe into the high chest. For a Panic Breath breather, this phrase could be helpful to adjust the high breath. But there is a problem with the validity of this phrase, “Breathe into your belly”: There are no lungs in the belly. If you try to push air into the belly instead of starting the breath at the bottom of the lungs around the ribcage, the instrument can get jammed.

以下是经济呼吸中发生的事情的真相：

Here is the truth of what’s happening in the Economical Breath:

你把空气吸到位于胸腔底部的肺底部。横膈膜下移，将器官推开。由于横膈膜推开器官，腹部会膨胀——这并不是因为腹部有空气。

You breathe into the bottom of the lungs located at the bottom of the ribcage. The diaphragm drops down pushing aside the organs. Because the organs are being pushed aside by the diaphragm, the belly expands out – not because there is air in the belly.

2. “吸气 至 横膈膜。”有些人认为横膈膜充满了空气。这完全是错误的。空气唯一能进入的地方就是肺部。

2. “Breathe into the diaphragm.” There are some who think that the diaphragm fills up with air. That’s just wrong. The only place the air can physically go is into the lungs.

3.“挺起腹部”。如果肺部没有空气，就只是跳肚皮舞。我更喜欢“释放到呼吸中”这个指令：想象空气从肺底开始。由于横膈膜向下接触，想象空气进入并向下流动。吸气时放松腹部。空气引导腹部向外移动。但对于那些受过收紧腹部肌肉训练的人来说，比如舞蹈演员，“挺起腹部”这个指令实际上可以帮助释放过度训练的腹部肌肉。我自己也用过这个指令，和百老汇《跳出我天地》中的一位年轻舞蹈演员一起工作。

3. “Push your stomach out.” To push the stomach out without air entering the lungs would just be belly dancing. I prefer the command Release into the breath: Think of the air starting at the bottom of the lungs. Since the diaphragm is contacting down, think of the air entering and going down. Release the tummy as you inhale. The air leads the belly moving out. But for those who have been trained to hold the stomach muscles tight, like dancers, the command, “Push your stomach out,” could actually be helpful to release the over-trained abdominal muscles. I used that command myself working with a young dancer on Broadway in Billy Elliot.

百老汇的《比利·艾略特》

Billy Elliot on Broadway

会唱歌的舞者

A Dancer Who Sings

百老汇剧目《跳出我天地》（Billy Elliot） 的音乐总监邀请我和剧中扮演迈克尔的男孩们一起工作。他们当时很难同时唱歌和跳舞。能遇到像这些才华横溢的男孩一样的年轻专业人士真是太棒了。他们从小就知道自己想做什么。杰米也不例外。

I was called by the musical supervisor of the Broadway show Billy Elliot to work with the boys in the cast who were playing the role of Michael. They were having trouble singing and dancing at the same time. It’s always so amazing to meet young professionals like these talented boys. From an early age they know what they want to do in life. Jamie was no exception.

杰米六个月大的时候就迷上了舞蹈。他的母亲是一位舞蹈老师，因为家里没人照顾孩子，所以带他去参加一次排练。她担心孩子会哭闹，就把杰米放在婴儿车里，放在舞者面前，祈祷他能保持安静。杰米不仅安静，还完全被舞者们迷住了，一动不动地坐了三个小时，一言不发，享受着每一分钟。难怪十二岁的杰米如今在芭蕾舞、爵士舞和踢踏舞方面都技艺精湛。

Jamie had been bitten by the dance bug at the tender age of six months old. His mother, a dance teacher, had brought him to one of her rehearsals when she was stuck without a babysitter. Afraid that she would have a crying baby on her hands, she put Jamie in a stroller in front of the dancers and crossed her fingers that he’d stay quiet. Not only was he quiet, but he was also completely mesmerized by the dancers, sitting still without a peep for three hours loving every minute of it. No wonder now at the age of twelve, Jamie was a top-notch skilled pro in ballet, jazz, and tap.

杰米和舞蹈队长来到我的舞蹈室。我把家具挪到一边，叠好地毯，给杰米留出唱歌和表演正式舞蹈的空间，这样我就能找出问题所在。果然，就像所有受过训练的舞者一样，杰米跳舞时会绷紧腹部。他尽力唱出百老汇的旋律，但杰米的声音被卡在喉咙里，因为他在整个舞蹈过程中都在喘息，胸腔里高高地鼓着。我必须想办法让杰米有时间放松腹部，轻轻地吸一口气（而不是像在锁骨附近那样急促地吸气），这样他的声音才能高亢起来。

Jamie and the dance captain arrived at my studio. I pushed the furniture aside and folded up the rugs, giving Jamie room to sing and perform the real choreography so I could scope out the problems. Sure enough, as all trained dancers do, Jamie held his tummy tight while dancing. He tried his best to sing out the Broadway tune, but Jamie’s voice got locked in his throat as he huffed and puffed high in his chest through the whole dance number. I had to find a way for Jamie to have moments where he could release his belly and take a low breath (not the Panic Breath up near the clavicles) so his voice could soar.

我和舞蹈队长杰米一起慢慢地分解了舞蹈。我们仔细地规划了编舞中杰米可以停下来、放松腹部、让气息沉到肺底的精确时刻。我们真的为他的呼吸编排了舞步！我清楚地告诉杰米：“挺起你的肚子！”他做到了！仅仅这么一个调整，杰米的声音就立刻释放了出来。他唱歌时没有喘息，同时，比利·艾略特那些复杂而精彩的舞步也丝毫没有受到影响。（记住，只有在这种情况下，我才会使用“挺起你的肚子！”这样的指令，对其他人来说，这可能会增加他们的呼吸压力。）

Jamie, the dance captain, and I slowly broke down the dance number together. We mapped out the exact moments in the choreography where Jamie could stop, release his belly, and have the breath drop down to the bottom of the lungs. We actually choreographed his breaths! I told Jamie clearly, “Push your tummy out!” He did it! With just that adjustment, Jamie’s voice was immediately released. He sang without losing his breath, and, at the same time, none of the intricate and fabulous dance steps of Billy Elliot were compromised. (Keep in mind, only in a case like this would I use the command “Push your tummy out!” For another person it could add stress to their breathing.)

4. “低低地深吸一口气。” 如果你习惯用胸部上方呼吸，或者像贝拉·索恩一样，你呼吸浅且腹部紧绷，那么这个指令可能很适合你。记住，你吸的是位于胸腔底部的肺部底部，而不是试图把空气推到腹部。（你的胃里没有肺！）接下来的故事将重点介绍军人“紧绷如鼓”的呼吸方式。

4. “Take a low, deep breath.” If you’re used to breathing at the top of your chest, or if you’re a shallow breather with a tight belly like Bella Thorne, then this may be a good command for you. Just remember that you are breathing into the bottom of the lungs located at the bottom of your ribcage and not trying to push air into your belly. (There are no lungs in your stomach!) This next story highlights the “tight as a drum” breath of a military man.

军人

Military Man

马文·盖伊

Marvin Gaye

我很荣幸能与唐纳德合作——他是一位坚强、敏感、身上有纹身的美国士兵，曾两次服役——一次在阿富汗，一次在伊拉克。退役归来后，唐纳德决定追寻自己的梦想，投身演艺事业。他全身心投入表演课程，找到了一些能够触及情感世界的方法，而这些方法此前被视为禁忌，而且作为一名士兵，似乎永远无法触及或适应。但唐纳德想要更多。他想扮演马文·盖伊——所以他需要唱歌。

I had the pleasure of working with Donald – a strong, sensitive, tattooed US soldier who served two tours – one in Afghanistan and one in Iraq. Upon his return from duty, Donald decided to follow his dream and pursue an acting career. He committed himself to acting classes and discovered ways to enter his emotional life that previously were off limits and never seemed accessible or appropriate as a soldier. But Donald wanted more. He wanted to play the role of Marvin Gaye – so he needed to sing.

他从来没想过自己会当歌手，但他克服了恐惧，试着跟我一起唱歌。因为军事训练，唐纳德的腹肌绷得像鼓一样紧。

Never having considered himself a singer, ever, he went through his fear and tried singing with me. Because of his military training, Donald’s stomach muscles were as tight as a drum.

我们效仿我的做法，将他的呼吸通道从“军事通道”改为“歌手/演员/人类通道”。顿时，唐纳德紧绷的腹肌放松了下来。他将“经济呼吸”运用到歌唱和表演中，吸气变得轻松自如。他的乐器中又开辟出一条沟通渠道，如今畅通无阻。不久之后，唐纳德以“马文·盖伊”的形象成功举办了他的个人演唱会……而且，他真的唱了！他真的唱得真好！

We applied my example to change the channel of his breath from Military Channel to Singer/Actor/Human Being Channel. Instantly, Donald’s tight, held stomach muscles softened. He could inhale effortlessly as he applied the Economical Breath to his singing and acting. Another channel of communication was excavated and now free in his instrument. Shortly thereafter, Donald went on to successfully create his one-man show as the magnificent Marvin Gaye…and he sang! He really sang!

5. “尽量多吸点气！”有些呼吸浅的人可能需要想象大量空气进入肺底。但信不信由你，太多空气会堵塞呼吸。现在，只需轻轻吸一口气。唱歌就像用音调说话，说话时不需要大口吸气。有时，小口吸气也是不错的选择。

5. “Tank up as much as possible!” Some shallow breathers might need to think of a lot of air coming into the bottom of the lungs. But believe it or not, too much air can jam the breath. For right now, just take an easy inhale. Singing is like speaking with pitch, and when you speak, you don’t need a huge breath. Sometimes a small breath is a good choice.

乔纳森

Jonathan

呼吸过多

Too Much Breath

我见到了乔纳森，一位训练有素的百老汇歌手兼舞蹈演员。他每一次呼吸都试图填满肺部后部、肺底，甚至肺顶。他的身体异常紧张，声音里也充满了气息。（空气总得有个出口。）我和乔纳森一起努力，说服他进行细微的、几乎看不见的呼吸。乔纳森突然间唱歌更加轻松，嗓音也更加优美。意想不到的结果是，他甚至可以比用太多空气时更长时间地发出高音。

I met with Jonathan, a trained Broadway singer and dancer. With every breath he took he was trying to fill up the back of the lungs, the bottom of the lungs, even the top of the lungs. There was extra tension in his body and breathiness in his voice. (The air had to go somewhere.) Working together, I convinced Jonathan to take small, almost invisible breaths. Jonathan was suddenly singing with more ease and beauty in his voice. The unexpected side effect was that he could even send a high note longer than when he was tanking up with too much air.

6. “吸气到背部。” 因为肺部是三维的，所以从肺底吸气确实会填满肺部的前部和后部。这个指令对于歌剧女主角在歌剧咏叹调中唱出一个很长很高的乐句时，可能会有帮助，因为它能为乐句提供额外的空气。但对于普通人来说，考虑如何填满背部是没有必要的，甚至可能会增加不必要的紧张感。

6. “Breathe into your back.” Because the lungs are three-dimensional, it’s true that breathing from the bottom of your lungs will also fill the lungs in the front and the back. This command could be helpful for a Diva singing an extremely long and high phrase in an opera aria to get the extra air needed for the phrase. But for mere mortals, thinking about filling up the back is not necessary, and it could even add unwanted tension.

7. “像轮胎一样在肋骨周围充气。”这个指令的意思是，呼吸围绕胸腔底部进行，肺部像轮胎一样向侧面充气。当肺部在胸腔底部充气时，实际上会产生一种向侧面的运动。但是，由于横膈膜会下沉，所以你应该用意念引导空气向下流动，而不是向侧面流动来引导这种向下的运动。想着把空气往侧面推会阻碍横膈膜的运动，造成不必要的紧张。

7. “Tank up like a tire around your ribs.” This command gives the idea of breathing around the bottom of the ribcage and filling up the lungs sideways like a tire. When the lungs fill up around the bottom of the ribcage, there is in fact a motion that goes sideways. But because the diaphragm drops down, you should guide that downward motion with your thought that the air is going down, not sideways. Thinking to push the air sideways jams the action of the diaphragm, causing unnecessary tension.

组织一下自己...请勾选“呼吸”。

Organize yourself… Please check off The Breath.

现在我们来谈谈“支持”。这项元素赋予您保护、力量和脆弱性——并将帮助您终生拥有健康的声音！

We are now moving on to Support. This element gives you Protection, Power, and Vulnerability – and will help you have a healthy voice for life!

第二章

chapter two

---

支持

SUPPORT

玛丽·J·布莱姬

MARY J. BLIGE

超级明星的日程安排——救援支持

A Superstar’s Schedule – Support to the Rescue

我一直很崇拜超级流行歌星玛丽·J·布莱姬。难怪每次听她唱歌我都会起鸡皮疙瘩——她真的能用心唱歌。

I’ve always admired mega-popstar Mary J. Blige. It’s no wonder I get goosebumps every time I hear her perform – she truly sings from her emotions.

当我受邀加入玛丽的创意团队，担任她在纽约一个电影项目中的声乐教练时，我非常激动。和许多明星一样，玛丽的行程安排非常紧凑，为了演出和项目，她总是忙得不可开交，飞遍全国。她最近一直在与流感作斗争，我能感觉到她身体疲惫不堪。在纽约创意团队排练了整整一周后，玛丽就要飞往洛杉矶参加热门电视节目《美国偶像》。在身体状况不佳的情况下，她又要踏上另一趟旅程。我能看出她眼中的担忧——玛丽的声音已经疲惫不堪。

I was thrilled when asked to join Mary’s Creative Team as her vocal coach for a singing role in a film project in NYC. As many stars do, Mary had a hectic travel schedule and was burning the candle at both ends, flying around the country for appearances and projects. She had recently been fighting the flu, and I could tell her body was fatigued. After a full week of rehearsals with the Creative Team in New York, Mary was flying off to Los Angeles to perform on the hit TV-show American Idol. She was making yet another trip when she wasn’t feeling 100%. I could see the worry in her eyes – Mary’s voice was tired.

在她离开之前，我想给玛丽一个唱歌的工具，这对帮助她克服声音疲劳至关重要，并确保她不仅能自信地唱歌，而且在《美国偶像》那一周不会伤到她的声音，而且她将来永远不会失去她的声音：支持。

Before she left, I wanted to give Mary the singing tool that would be paramount in helping her with vocal fatigue, and to make sure that she would not only sing with confidence and without injuring her voice that week on American Idol, but that she would never lose her voice in the future: Support.

我教了玛丽一个简单的练习，让她正确地与支撑点连接起来。现在我们一起来做：首先，轻轻吸气，然后呼气，发出蛇叫的声音：肚脐向内收，同时发出“Ssssss”的声音。再说一遍，“Ssssss”。当你发出“Ssssss”的声音时，你的肚脐是否也在向内收呢？就像玛丽一样，你现在正直接与你的支撑点连接。

I taught Mary an easy exercise to engage the Support in the proper way. Let’s do it together now: First take an easy inhale – then exhale making the sound of a snake: Say “Ssssss” with your bellybutton moving IN. Again. “Ssssss.” Is your bellybutton moving IN as you say “Ssssss”? Just like Mary, you are now connecting directly to your Support.

玛丽非常喜欢。做完“嘶嘶嘶嘶”练习后，我们将支撑点与她的声音联系起来。每唱一个乐句之前，玛丽都会将肚脐向内收，发出她美妙的声音。她不仅能唱出她想要的每一个强劲音调，还能充分发挥她的标志性天赋——情感。她感觉自己仿佛拥有了一件可以信赖的工具。

Mary loved it. After doing the “Ssssss” exercise, we connected the Support to her voice. Before each and every phrase, Mary moved her bellybutton IN and sent out her glorious voice. Not only could she hit every powerful dynamic she wanted, but she also had full access to her signature talent – her emotions. She was on her way, feeling like she had a tool that she could count on.

玛丽飞到了洛杉矶，我特意在周一晚上的电视直播中观看了她的演唱。看到她一边摇滚演唱，一边肚脐眼微微内收，我感到无比自豪！同时，她的歌声铿锵有力，情感也完全释放。全场观众起立鼓掌。

Mary flew to LA, and I made sure to watch her on live TV that Monday night. I was so proud to see her bellybutton moving IN as she rocked out her song! At the same time, her voice was powerful, and her emotions completely released. She was met by a standing ovation.

接下来的一周，我们又开始见面了。“玛丽！我在《美国偶像》上看到你了。你的肚脐眼都往里缩了！”

The following week we were back in session. “Mary! I saw you on American Idol. Your bellybutton was moving IN!”

“你看到了？！”她惊呼道。“我在更衣室里上场前一直在喊‘嘘’。我当时身体很不舒服，但这招奏效了！”

“You saw that?!” she exclaimed. “I was in the dressing room saying “Ssssss” before I went on. I was so under the weather, and it worked!”

支持

SUPPORT

2. 语音技巧方面

2. Voice Technique Side

支持 – 呼气

SUPPORT – Exhale

目标：学习如何正确使用支持，这将为您带来以下三个重要结果：

The Goal: To learn how to use Support correctly, which gives you these three important results:

1. 保护：保护声带免受伤害

1. Protection: Protecting your vocal cords from injury

2. 力量：找到你个人声音的真正力量

2. Power: Finding the true power of your personal voice

3. 脆弱性：唱歌时流露出你的情绪

3. Vulnerability: Exposing your emotions while singing

为什么这很重要：

Why This Is Important:

1. 正确的支持对于声音的持久性至关重要

1. The right Support is imperative for vocal longevity

2. 现在您可以充分发挥自己的声音力量，而不会感到声音疲劳

2. Now you can have your full vocal power without vocal fatigue

3. 用真情实感演唱，让每首歌都充满魔力，打动听众

3. Singing with your true emotions is what makes every song magical, and moves an audience

需要改变的是：调整你的支撑方式，以配合身体的实际运作方式。关于如何“支撑”声音，有很多奇怪的概念，所以本章很重要。

What Has To Change: Adjust your Support to complement how the body actually works. There are many strange notions out there about how to “support” the voice, so this chapter is important.

“你对应援唱歌有什么看法？”

“How do you think about Support for singing?”

我询问每个新生他们学了什么，或者他们听说过哪些有关支持的事情。

I ask each new student what they have been taught, or what they have heard about Support.

以下这些是我经常听到的一些答案。这些命令是对的还是错的？（剧透警告：它们都是错的。）

The following phrases are some of the answers I often hear. Are these commands true or false? (Spoiler alert: They are all false.)

令人困惑的短语 - 支持：

CONFUSING PHRASES – SUPPORT:

1.“横膈膜的支撑”

1. “Support from your diaphragm”

2.“用力抱住你的腹部”

2. “Hold your stomach really hard”

3.“收紧臀部”

3. “Clench your buttocks”

4. 唱歌时，腹部向外伸展以提供支撑

4. “Push your stomach out to support as you sing”

5.“挺起你的肋骨”

5. “Hold your ribs out”

6.“你不可能得到太多的支持”

6. “You can’t have too much Support”

让我们在本章末尾重温一下这些容易混淆的短语。首先，让我们理解一下“支持”。

Let’s revisit these Confusing Phrases at the end of the chapter. First, let’s make sense of Support.

支持 – 呼气

SUPPORT – Exhale

我认为，我们社会普遍缺乏对说话的支持，也普遍缺乏对歌手的支持。声音的保护、力量和脆弱性在我们的生活中至关重要——而这些都源于支持。

I think there is an epidemic of no Support in our society for speaking, and there is an epidemic of no Support for singers. Vocal protection, power, and vulnerability are essential in our lives – and that comes from Support.

在我们了解如何将支持与您的声音连接起来之前，让我们更清楚地了解什么是支持。

Before we learn how to connect Support to your voice, let’s get even more clear about what Support is.

理解支持——支持意味着什么？

Making Sense of Support – What does Support mean?

底部支撑

SUPPORTING FROM UNDERNEATH

建筑物的支撑点在哪里？

Where is the Support of a building?

在纽约市，我住在一栋22层高楼的16层。如果我家的楼房支撑系统在16层，会发生什么？楼房会倒塌！那么，我的楼房支撑在哪里呢？没错——在楼房底部的地基里。幸运的是，我的楼房地基里有支撑——所以我和其他住户都很安全。

In New York City, I live on the 16th floor of a 22-floor high-rise. If the support system of my building were up on my 16th floor, what would happen? The building would topple over! So, where is the Support of my building? That’s right – in the foundation at the bottom of the building. Fortunately, my building does have the Support in the foundation – so the other tenants and I are safe.

唱歌时，你需要把整个身体都想象成你的乐器（而不仅仅是声带）。让我们花点时间把你的身体想象成我在纽约的那栋楼：在楼顶，有膈神经、肺和横膈膜。它们在不由自主地工作，让身体呼吸。

In singing, you need to think of your entire body as your instrument (not just the vocal cords). Let’s take a moment to think of your body as my building in New York: At the top of the building, you have the phrenic nerve, the lungs, and the diaphragm. They are doing their involuntary work to make the body breathe.

就像我那套16楼的公寓一样，无论是说话还是唱歌，我们都不希望支撑点位于楼顶。想想旧金山和日本的摩天大楼。建筑师设计这些高楼时，为了让楼顶在地震中随着震动而摇晃。建筑物底部坚实的地基加上顶部灵活的结构，可以避免高层建筑倒塌。这与我们支撑技巧的完美结合堪称完美。颈部、肩部以及环绕肺部和横膈膜的上腹部肌肉必须灵活自如。任何试图在“顶部”支撑而产生的额外肌肉紧张都会影响整体运作。

Just like my 16th floor apartment, for both talking and singing, we don’t want the Support to be at the top of the building. Think of the skyscrapers in San Francisco and Japan. Architects design those tall buildings so that during an earthquake the tops of the buildings will sway with the motion of the tremors. The strong foundation at the bottom of the buildings with the flexible structure at the top save the high-rises from crashing down. That’s a perfect image for our Support technique. The neck, shoulders, and upper abdominals that surround the lungs and diaphragm must be supple and free. Any added muscle tension from trying to support “on top” would jam the whole works.

支撑点不应该位于乐器的顶部，而应该位于下方——肺部下方，横膈膜下方。横膈膜下方是什么？

Instead of the Support being at the top of your instrument, the Support must come from underneath – below the lungs, and below the diaphragm. What is below the diaphragm?

肚脐！

THE BELLYBUTTON!

肚脐始终是您发起支撑的地方。

The bellybutton is where you will always initiate the Support.

1. 支持即保护

1. SUPPORT AS PROTECTION

说话和唱歌时，正确的支撑方式是相同的——身体已经了解并希望保护声带。没错——你的身体里已经有一个系统可以保护你的声带。

The correct Support for both talking and singing is the same Support the body already knows and wants to protect the vocal cords. That’s right – there is a system already in place in your body that will keep your vocal cords protected.

比如打喷嚏：当你打喷嚏呼气时，你的身体会在不知不觉中把肚脐往内收。为什么？肚脐往内收的动作会产生正确的气压，保护声带避免用力过猛地相互撞击。现在就试试——假装打喷嚏：啊啊啊——嚏！“嚏”一声响，你会注意到你的肚脐在往内收！我们将练习同样的动作——肚脐往内收——以便在说话和唱歌时保护你的声带。

For example, think of sneezing: When you exhale with a sneeze, your body pulls your bellybutton IN without your even knowing it. Why? This action of moving the bellybutton IN initiates the correct air pressure to protect your vocal cords from hitting each other with too much force. Try it now – pretend to sneeze: Aaaa-choo! On “choo,” you’ll notice that your bellybutton is moving IN! We will hone this same movement – the bellybutton moving IN – to protect your vocal cords when speaking and singing.

我把这个支持称为“超级肚脐！”——超级英雄！

I call the Support “Super Bellybutton!” – a Superhero!

如果没有通过适当的支持来保护声带会发生什么？

What happens if you don’t protect the vocal cords with the proper Support?

短期来看，不正确的支撑会导致声带疲劳。突然间，说话和唱歌都感觉更吃力，但你却不知道原因。长期来看，声带上可能会形成结节或息肉，这导致许多歌唱家的事业中断。同样糟糕的是，如果没有正确的支撑，声带中的小血管破裂，可能会导致出血。

In the short run, incorrect Support can bring on vocal fatigue. Suddenly, speaking and singing feel like more of a strain, but you don’t know why. Long term, a nodule or a polyp can form on the vocal folds, which has brought many a singing career to a halt. Just as bad, without the correct Support, the vocal cords can hemorrhage, as small blood vessels in the cords rupture.

声带出血

Hemorrhaged Vocal Cords

在她职业生涯早期的一次采访中，我听到一位著名的年轻歌手说她突发喉炎。她把这次发作归咎于那天晚上她为了盖过乐队的演奏而“用力”发声。对我来说，“用力”这个词对支撑系统来说是一个危险信号。没有连接到肚脐支撑系统，用力从喉咙发力确实会引发急性喉炎——如果不纠正支撑系统，可能会造成更严重的声带损伤。

In an interview early in her career, I heard a famous young singer say she had experienced a sudden attack of laryngitis. She attributed the attack to having “pushed” her voice to be heard over her band that particular evening. For me, the word “pushed” is a red flag regarding Support. Not being connected to the Bellybutton Support and pushing from the throat can indeed bring on acute laryngitis – and if the Support is not corrected, more vocal damage is possible.

那次采访后不久，她开始了她的首次巡回演唱会。巡演途中发生了一件可怕的事情：她的声带出血。她不得不取消剩余的巡演，转而进行康复治疗。幸运的是，这位歌手说她找到了一位出色的外科医生。几个月后，她接受了声带修复手术，她说她的声音感觉和听起来都比以前更好了。她正式康复了。

Soon after that interview, she set out on her first concert tour. In the middle of the tour something terrible happened: Her vocal cords hemorrhaged. She had to cancel the balance of the tour and recover. Fortunately, the singer reported that she found a wonderful surgeon. Months later, having had the operation to mend her vocal cords, she said that her voice felt and sounded better than ever. She had officially recovered.

在她再次巡演之前，我观看了她用“新”嗓音为现场观众演唱新歌的电视特别节目。我全神贯注地看着她演唱。我发现了她之前受伤的一个潜在原因，而她之前一直没有纠正：她没有使用正确的支撑方式。我观察到她唱歌时肚脐没有往内收，而是向下推腹部。这种动作会堵塞支撑方式，久而久之，就会损害声带的健康。

Before she went back out for a second tour, I watched a television special of her singing some of her new material for a live television audience with her “new” voice. I watched intently as she sang. I was able to identify a potential source of her previous injury which she had not yet corrected: She was not using her correct Support. Instead of scooping the bellybutton IN as she sang, I observed the action of her abdomen pushing DOWN. This action jams the Support, and with time, hinders the health of the vocal cords.

她确实又出去巡演了——但她的声带又一次出血。她不得不再次取消巡演。

She did go back out for a second tour – and her vocal cords hemorrhaged again. She had to cancel her tour for a second time.

一位优秀的外科医生通常可以修复受损的声带，但如果不解决最初造成损伤的问题（在本例中为不正确的支撑），损伤就会再次发生。

A good surgeon can often fix the damaged vocal cords, but if the problem of how the injury occurred in the first place is not remedied – in this case, incorrect Support – the damage will recur.

从肚脐处挖

SCOOPING FROM THE BELLYBUTTON

秋千

The Swing

当你从肚脐开始呼气并向内移动时，想象自己像一个“舀起的动作”一样向内移动并弯曲，就像你发“Ssssss”的声音一样。这只是一个简单的摆动动作。

When you initiate the exhale from the bellybutton moving IN, think of a “scooping motion” going in and curving up like a SWING, as you say “Ssssss.” It’s just an easy swinging motion in.

为什么会有摆动动作？

Why the swinging motion?

• 当你吸气时，横膈膜会不由自主地收缩，在肺部形成真空，让空气涌入——与此同时，腹部和肚脐会向外舒张
• As you INHALE, the diaphragm is working involuntarily by contracting down to create a vacuum in the lungs so the air can rush in – at the same time, the belly and bellybutton release OUT
• 当你用“Ssssss”呼气时，你正在工作，将腹肌带入肚脐周围，同时横膈膜放松并上升回肺部下方的家中
• As you EXHALE with the “Ssssss,” YOU are working, bringing the abs around the bellybutton IN as the diaphragm relaxes and rises back up to its home underneath the lungs
• 当你在“Ssssss”上将肚脐向内摆动时，你正在跟随横膈膜上升回到肺部下方的静止位置——“Ssssss”的气压能量正在引导摆动的运动
• As you swing the bellybutton IN on “Ssssss,” you are following the diaphragm rising back up to its resting place underneath the lungs – The air pressure energy of your “Ssssss” is leading the motion of the swing
• 随着横膈膜上升回到肺部下方，随之而来的摆动运动，为您提供最同步的动作和最经济的结果——轻松支持
• The swinging motion that follows the diaphragm as it rises back up to its home underneath the lungs, gives you the most synchronized action possible with the most economical results – easy Support

记住，不要让肺部和横膈膜周围的上腹部肌肉紧抓、支撑或成为支撑的一部分。这些肌肉必须保持柔韧性，以便横膈膜能够不受干扰地完成工作。

Remember, don’t let the upper abdominals around the lungs and diaphragm clutch, hold, or be a part of the Support. Those muscles must remain supple so the diaphragm can do its work without interference.

如果你在镜子里看不到胸骨在发“嘘”的时候鼓起来，可以想象一下从肚脐下方一英寸处开始摆动。如果你的腰短或腰长，肚脐下方一英寸可以让你更有力量。每次呼气时，肚脐收拢，胸骨在发“嘘”的时候鼓起来，那应该是一种轻松愉快的感觉。

If you can’t see your sternum popping out in the mirror when you say “Ssssss,” think of initiating the swinging motion one inch below the bellybutton. If you’re short waisted or long waisted, one inch below the bellybutton could give you more swinging power. It should be a buoyant wonderful feeling when your bellybutton scoops IN on each exhale and your sternum pops OUT as you say “Ssssss.”

利用你躺着的时间——比如入睡前和早晨醒来时。那时你的身体处于自然状态，你可以观察自己的呼吸，腹部会随着呼吸轻松地起伏。如果你有机会看到宝宝醒着或睡着，检查一下他们的呼吸——他们的呼吸总是正确的！观察一下睡觉或打盹的人。如果对方打鼾，那就更好了！你可以观察到吸气时腹部隆起，呼气时肚脐内收，从而支持他们发出鼾声。这是一种多么有趣的方式，可以让你看到你的发声技巧在起作用！

Take advantage of the times when you are lying down – like before you fall asleep and when you wake up in the morning. Your body will be in its natural state, and you can observe your breathing with your tummy effortlessly rising and falling with the breath. If you get the chance to see a baby awake or asleep, check their breathing – it’s always correct! Watch someone sleeping or taking a catnap. If the person snores, even better! You can observe the tummy rising on the inhale, and then the bellybutton moving IN on the exhale which engages the Support for their vocal snoring. What a fun way to see your voice technique in action!

2. 支持就是力量

2. SUPPORT AS POWER

肚脐收拢的动作赋予了你声音的力量——而不是声带或横膈膜。它们是接收肚脐有力收拢的接收者。你必须保持上腹部（胸腔周围）的柔软和自由，这样肺部和横膈膜才能不受肌肉紧张的阻碍地工作。如果你挤压或推挤横膈膜来支撑，整个系统就会崩溃。

The movement of the bellybutton scooping IN is the effort that gives you the power of your voice – not the vocal cords and not the diaphragm. They are the receivers of the powerful bellybutton swinging IN. You must keep the upper abdominals (around the ribcage) supple and free so the lungs and diaphragm can do their work without any hindrance from muscle tension. If you squeeze or push from the diaphragm to support, the whole system will fall apart.

西德尼·波蒂埃

Sidney Poitier

不要挤压横膈膜

Don’t Squeeze the Diaphragm

我最喜欢的演员之一，偶像级演员西德尼·波蒂埃，在他的畅销自传《人的尺度》中，描述了自己早年演艺生涯中被要求学习横膈膜训练的亲身经历。灾难！

From his best-selling autobiography, Measure of a Man, one of my favorite actors, icon Sidney Poitier, describes his own personal experience in his early acting years being told to take diaphragm lessons. Disaster!

虽然我还没有真正意义上达到专业水准，但我已经远离了早年在戏剧圈的时光。那时，一些缺乏经验的演员和一些不太好的戏剧老师告诉我，‘你必须学习横膈膜课程。你必须能够用横膈膜说话，这样剧院最后一排的观众才能听到你的声音。你必须学会​​用横膈膜发出你的声音，把它推上去，挤出来，这样它才能在观众席中回响。’

“While I wasn’t home yet in the truly professional sense, I was a long way from those early times back in the theatrical woods when I was told by fellow inexperienced actors and by some not very good drama teachers, ‘You have to take diaphragm lessons. You have to be able to speak from your diaphragm so that you can be heard up in the last row of the theatre. You must learn to bring your voice from the diaphragm, push it up, squeeze it out so that it will resound into the audience.’

“嗯，为了让观众听见我在楼厅里的声音，我差点把自己挤死。我是认真的。我早期演出时，一半都便秘了。我的胃总是像加拿大的那种等长收缩运动。我的意思是，它就像一个结，我一直把身体里的所有东西都挤出来，导致横膈膜周围肌肉发达。”——西德尼·波蒂埃

“Well, I almost squeezed myself to death trying to be heard in the balcony. I’m serious. I was constipated during half my early performances. My stomach was always in one of those Canadian isometric exercises. I mean it was like a knot, I developed such muscles around my diaphragm from squeezing everything out of me all the time.” – Sidney Poitier

横膈膜是上帝赐予的肌肉。它会自动运作。你无需思考，只需知道它在哪里。上帝把它赐予了你。这真是个奇迹。——

米切尔夫人，爱默生学院戏剧老师

“The diaphragm is a God given muscle. It works automatically. You don’t have to think about it. Just know where it is. God gave it to you. It’s a miracle.”

– Mrs. Mitchell, drama teacher at Emerson College

3. 支持即弱点

3. SUPPORT AS VULNERABILITY

支持将你与脆弱连接起来。怎么做到的？宝宝的第一声啼哭充满力量， 充满情感，并且伴随着完美的支持。相信当你与正确的呼吸和支持连接时，你的身体也会成为你真正脆弱的容器。

Support connects you to your vulnerability. How? Baby’s first scream is powerful, emotional, and in the perfect Support. Trust that when you are connected to the correct Breath and Support, you are also lining up your body as the vessel to your true vulnerability.

乔的脆弱性

Joe’s Vulnerability

我像小女孩一样吱吱叫

I Squeak Like a Little Girl

一位来自澳大利亚的年轻演员打电话给我，希望我帮他改善说话和唱歌的声音。他以前声带上长过小结。医生说，由于他的声音得到了休息，小结现在已经消失了。但乔很明智地想确保自己不再继续那些导致小结的坏习惯。他告诉我，当他情绪激动时，他的声音会“像小女孩一样尖细”——这可不是乔在演戏或生活中想要的。

A young actor from Australia called me to work on his speaking and singing voice. He used to have nodules on his vocal cords. The doctor said that the nodules were now gone from resting his voice, but Joe wisely wanted to make sure he wasn’t continuing with the bad habits that gave him the nodules in the first place. He told me that when he got emotional his voice would “squeak like a little girl” – not what Joe wanted in his acting or in his life.

在研究了乔的发声技巧后，我毫不惊讶他的支撑音完全卡住了。他身上的每一块肌肉都紧紧地绷着。这种“紧得像鼓一样”的额外压力确实能让一个男人的声音从自然的深沉共鸣突然变成一种突如其来的、出乎意料的“尖锐”假声——尤其是在他情绪激动的时候。“你是运动员吗？”我问道。谜底揭开了：

After examining Joe’s voice technique, I wasn’t surprised that his Support was completely jammed. Every muscle in his body was holding on. This “tight as a drum” extra pressure could indeed make a man’s voice go from a natural deep resonance to a sudden, unexpected, “squeaky” falsetto – especially when he was emotional. “Are you an athlete?” I inquired. The mystery was unveiled:

“十几岁的时候，我总是觉得自己又矮又弱，没有任何体力，”乔分享道。“我强迫自己变得强壮。我成了高中足球队的守门员。球队训练结束后，我会留下来，穿上全身护具，我的伙伴会用尽全力把足球扔给我。”

“As a teenager, I always felt like a small, weak person, without any physical power,” Joe shared. “I pushed myself to get strong. I became the goalie on my high school soccer team. When the team workout was done, I’d stay after, put on full body pads and my buddy would throw soccer balls at me as hard as he could.”

尽管乔自我强迫的、受虐狂式的锻炼已经是十年前的事了，但他的身体神经系统中仍然保留着肌肉记忆，要“收紧一切！”现在，当乔变得情绪化和脆弱时，无意识的紧握就会占据上风，他的声音就会变得尖锐。

Even though Joe’s self-imposed, masochistic workouts had been a decade before, his body still held the muscle memory in his nervous system to “tighten everything!” Now, when Joe got emotional and vulnerable, unconscious gripping would take over, and his voice would squeak.

乔和我开始着手改变他身体系统的“软件”。放松上腹肌能增强下腹肌的力量。放松肩膀和脖子能让他的身体臣服。他的超级肚脐成了他的力量点。那个吱吱叫的小女孩消失了，取而代之的是一个坚强而脆弱的男人。

Joe and I got to work to change the “software” of his system. Softening the upper abs added power to his lower abs. Releasing his shoulders and neck made his body surrender. His Super Bellybutton served as his point of power. The squeaking little girl departed, and a strong, vulnerable man took her place.

乔发现了拳击和武术，它们和我们的呼吸练习息息相关！教练向他展示了协同和释放的力量，将肌肉力量与呼吸结合起来。乔再也不会“全身紧绷”了。

Joe found boxing and martial arts, which went hand in hand with our breathing work! The instructor showed him the power of synergy and release, using muscle power with the breath. Never again would Joe “tighten everything.”

由于他致力于拳击、武术以及他新的发声技巧，我们得以彻底改变乔青少年时​​期形成的旧有发音模式。乔的声音变得优美流畅，他再也不用为情绪激动时声音嘶哑而感到尴尬了。最棒的副作用是——他声带上的小结再也没有复发过。

Because of his commitment to boxing, martial arts, and his new voice technique, we were able to do away with the old mapping Joe developed as a teen. Joe’s voice connected beautifully, and he no longer had the embarrassment of his voice squeaking when he got emotional. And the best side effect – the nodules on his vocal cords never came back.

我会一直要求你从肚脐开始支撑。肚脐位于肺部下方，横膈膜下方，作为你的声音的支撑。你或许还会想到，肚脐是你通过脐带与母亲相连的地方。它是你用“直觉”思考的区域。它是你的力量和脆弱之处。肚脐会很好地帮助你。

I will always be asking you to initiate the Support from the bellybutton. The bellybutton is underneath the lungs and underneath the diaphragm to act as the Support of your instrument – your voice. One may also ruminate on the fact that the bellybutton is where you were attached to your mother by the umbilical cord. It’s the zone where you think from your “gut.” It’s a place of your power and vulnerability. The bellybutton will serve you well.

确保不要像仰卧起坐那样收紧腹部肌肉。整个呼气过程中，肚脐保持向内摆动，“嘶 ...

Be sure not to hold the stomach muscles like you might do in a sit-up. The bellybutton keeps swinging IN on the entire exhale “Ssssss” – then inhale – exhale “Ssssss” – then inhale – exhale “Ssssss,” etc.

舌颤音和唇颤音

TONGUE TRILL & LIP TRILL

您还不会唱歌，但让我们添加浊音舌颤音和唇颤音来继续练习您的支持。

You are not singing yet, but let’s add the voiced Tongue Trill and Lip Trill to keep practicing your Support.

1. 舌颤音

1. TONGUE TRILL

你能像意大利人一样卷舌（[r]）吗？说“Bravo！”“Brrrrrravo！”

Can you roll your tongue like an Italian [r]? Say Bravo! Brrrrrravo!

现在转动 [r]：“Drrrrr”

Now roll the [r]: “Drrrrr”

一边说“Drrrrr”，一边把手放在肚脐前。做一个手掌交替画圈的动作，就像篮球裁判示意犯规“走步/走步”一样。试试看！一边说“Drrrrr”，一边画圈：

As you say “Drrrrr,” bring your hands in front of your bellybutton. Make a hand-over-hand circling motion, like a basketball referee motioning the signal for the foul “walking/traveling.” Give it a try! Say “Drrrrr” while circling your hands:

“呜呜呜”

“Drrrrr”

有些英语使用者在发“Drrrrr”的卷舌音时会遇到困难。如果这对你来说很困难，你可以在后面的练习中用唇颤音代替舌颤音。

Some English speakers have trouble rolling the [r] saying “Drrrrr.” If it’s difficult for you, you can substitute the Tongue Trill with the Lip Trill in the exercises ahead.

2. 唇颤音

2. LIP TRILL

你见过小孩用嘴唇发出汽车引擎的声音吗？两片嘴唇一起振动，加上声音……瞧！这就是引擎轰鸣的声音。试试看：“Brrrrr”

Have you ever seen a child make the sound of a car engine with their lips? Two lips vibrate together, the voice is added and…ta-da! It’s the sound of a rumbling engine. Give it a try: “Brrrrr”

说“Brrrrr”的时候，双手放在肚脐前。像篮球裁判示意“走步/走步”一样，用手掌交替画圈。试试看！一边说“Brrrrr”，一边用手画圈。

As you are saying “Brrrrr,” bring your hands in front of your bellybutton. Make a hand-over-hand circling motion, like a basketball referee motioning the signal for “walking/traveling.” Give it a try! Say “Brrrrr” while circling your hands.

“嘶嘶嘶”

“Brrrrr”

如果你嘴唇动起来很困难，可以暂时放弃裁判的动作。用两根食指分别向上推嘴唇两侧。这会让你的嘴唇和脸颊更丰满。再试一次。“Brrrrr”

If you are having a hard time getting your lips to move, forego the referee motion for a moment. Take your two index fingers and push UP on either side of your mouth. This makes your lips and cheeks more fleshy. Try again. “Brrrrr”

现在您的舌颤音和唇颤音已经准备好了，我们将添加一个更精彩的图像，让您在双手绕圈进行以下支撑练习时牢记在心：

Now with your Tongue and Lip Trills ready, we’ll add one more wonderful image to keep in mind as you’re circling your hands for the following Support exercises:

两个球互相旋转

TWO BALLS SPINNING AROUND EACH OTHER

想象一下两个球互相旋转，当你转动双手并摆动肚脐支撑时，你会想象和感觉到一个旋转的能量螺旋桨。

The thought of two balls spinning around each other gives you the image and sensation of a spinning propeller of energy as you circle your hands and swing your bellybutton Support IN.

这是一张附加的支撑图片，旨在帮助你持续将肚脐向内移动，而不是保持。这也是我的方法被称为“革命性送达”（The Revolutionary SEND）而不是“革命性保持”（The Revolutionary HOLD）的原因之一。

This is an added image for the Support to help you keep moving the bellybutton IN – not holding. That’s one of the reasons why my method is called The Revolutionary SEND, not The Revolutionary HOLD.

误区： “如果你的嘴唇不颤动，那是因为你的嘴巴和下巴紧张。” 事实上，如果你的嘴唇不颤动，很可能是因为你没有与你的支撑点连接。肚脐必须像秋千一样向内收。就像两个球互相旋转一样的移动能量，才是引导你嘴唇振动的力量。

MYTH: “If your lips don’t trill, it’s because your mouth and jaw are tense.” Actually, if your lips don’t trill, it’s most likely because you are not connected to your Support. The bellybutton must be scooping IN like a swing. The moving energy like two balls spinning around each other is the force that is leading your lips to vibrate.

添加肚脐

ADDING THE BELLYBUTTON-DOWN

你的腿部能量也是支撑的一部分

Your Leg Energy is Also a Part of the Support

现在你已经是肚脐内收的专家了，我们将在你的支撑点——腿部——上再加一个调整，我称之为“肚脐下收”。别担心，你不用紧紧地抱住双腿，也不用去想有些人说的“接地”。你肯定不想被困在地里。旧金山的一些高层建筑建在地基上的滚轮上，所以整栋楼都会移动，包括地基！（我朋友告诉我，他在旧金山的一次地震中，就坐在其中一栋楼里，那感觉真是太震撼了！）你可以肯定，运动有助于支撑！

Now that you are an expert swinging your bellybutton IN, we will add one more tweak to your Support – your legs – which I call Bellybutton-Down. Don’t worry, you don’t have to hold your legs tight or think about what some people call “grounding.” You do not want to be stuck in the ground. Some of the high-rise buildings in San Francisco are built on rollers in the foundation so the entire building moves, including the base! (My friend told me he was caught in a San Francisco tremor in one of those buildings, and it was a wild ride!) You can be sure that movement helps with Support!

不要绷紧双腿，只需确保下半身的能量流动和活跃。在这个练习中，你需要弯曲膝盖，感受双腿中涌动的能量。

Instead of holding the legs tight, you just want to make sure the energy in your lower body is moving and active. In this exercise you’re going to bend your knees and feel a buoyant energy in your legs.

凯莉的腿

Carrie’s Legs

轮椅到站立

Wheelchair to Standing

因为一场摩托车事故，凯莉坐了一年轮椅。我有几个学生也受困于轮椅。唱歌可以用任何姿势，包括坐着。就凯莉而言，医生们都不确定她是否还能再次行走。但经过11次手术和坚定的决心，凯莉终于可以行走了。现在，凯莉是时候追寻她真正的激情——表演了。她决定与三重威胁表演者安·玛格丽特进行独角戏。凯莉不仅要演戏，作为安·玛格丽特，她还需要唱歌和跳舞！事故发生前，凯莉从未接受过歌舞训练——现在，她一边学习新技能，一边身体仍在康复中。凯莉邀请我担任她的声乐老师，于是我们开始了合作。

Because of a motorcycle accident, Carrie was in a wheelchair for a year. I’ve had several students who are confined to wheelchairs. It’s possible to sing in every position, including only sitting down. In Carrie’s case, the doctors didn’t know if she was ever going to walk again. But after eleven operations and an unstoppable determination, Carrie was walking. Now it was time for Carrie to follow her true passion – to act. She decided to take on the triple threat performer Ann Margret as a one-woman show. Not only was Carrie acting, but as Ann Margret, she had the demand to sing and dance! Carrie had never trained for singing and dancing before the accident – and now she was learning new skills while her body was still healing. Carrie called me to be her voice teacher, and we got to work.

因为那次事故，Carrie 的身体学会了在轮椅上仅靠头部、颈部和肩部的力量生存，而她的双腿则处于静止状态，以便康复。现在她已经可以站起来，一年来在轮椅上留下的肌肉记忆依然存在：Carrie 的肚脐下垂感完全消失了。我必须帮助 Carrie 重新调整身体的平衡，为她的肚脐和双腿提供支撑，并释放上半身的力量。

Because of the accident, Carrie’s body learned to survive in the wheelchair using only the strength of her head, neck, and shoulders, while her legs remained dormant in order to heal. Now that she was out of the wheelchair standing, the old muscle memory of a year in the wheelchair remained: Carrie’s sensation of Bellybutton-Down was completely non-existent. It was imperative for me to help Carrie to re-map her body’s balance to give the Support to her bellybutton and legs, and to release the upper torso.

凯莉跟我分享了这有多么困难，以及她必须多么耐心才能真正放松颈部肌肉。我提醒她，坐轮椅的那段时间，颈部和上半身的肌肉给了她生命，它们也成了她的双腿。现在，这些肌肉必须重新组合，并明白不再需要额外的锻炼。她拥有美丽的双腿，现在它们将承担起支撑她的重任。

Carrie shared with me how difficult it was and how patient she had to be with letting the neck muscles really go. I reminded her that during the time in the wheelchair, the neck and upper body muscles gave her life. They became her legs. Now those same muscles had to regroup and understand that the extra work was not needed anymore. She has beautiful legs, and they will take over now for the Support.

经过时间和耐心的等待，Carrie 终于完全康复了！她的肚脐下支撑带已经到位，双腿也能活动自如了。Carrie 又能唱歌又能跳舞了！

With time and patience, Carrie made a full recovery! Her Bellybutton-Down Support was in place, and her legs were in action. Carrie sang and she danced!

她的单人秀大获成功并获得了热烈的评价。

Her one-woman show was a HIT and garnered rave reviews.

肌肉与脂肪

MUSCLE VS. FAT

传统戏曲演员要想成为一名伟大的歌手，胖一点比瘦一点好吗？

The Traditional Opera Singer Is it better to be fat than thin to be a great singer?

传统戏曲演员一直以来都被刻板地认为身材高大丰满。这是否意味着身材肥胖的人才能成为优秀的歌唱家呢？

Traditional opera singers have always been stereotyped as big and round. Does that mean it’s better to be fat to be a great singer?

从某种程度上来说，拥有更多脂肪对唱歌来说可能是个优势。我们现在知道，为了支撑声音，肚脐周围的腹肌会参与并向内移动。正如我反复强调的那样，重要的是不要 让这些肌肉绷紧。肚脐必须像两个球互相旋转一样，以能量向内移动。

In one respect, having more fat can be an advantage for singing. As we now know, to support the voice, the abdominal muscles around the bellybutton are engaged and move IN. As I have repeated over and over, it’s important to not hold these muscles tight. The bellybutton must move IN with the energy of two balls spinning around each other.

这里有一条有趣的生理真相：肚脐部位脂肪较多的歌手可以尽其所能地收腹，而且绝不会过度。由于脂肪层起到了缓冲作用，所以 从生理上来说，不可能把腹部肌肉收得太紧——腹肌根本无法收紧。

Here’s an interesting physical truth: A singer with more fat in the area of the bellybutton can pull the tummy IN as hard as they can – and never overdo it. It’s physically impossible to grab the muscles too tightly because the layer of fat serves to cushion the movement – the stomach muscles can’t physically grab.

另一方面，肌肉发达、脂肪较少的歌手可能会因为肌肉收紧而导致支撑结构收缩。如果你身材苗条，并且经常做仰卧起坐和运动，腹肌会变得结实，尤其要注意不要紧绷肚脐周围的下腹部肌肉。一定要放松，不要紧绷。如果你有腹部脂肪，那就尽情享受吧！好好利用支撑结构吧！

On the other hand, a singer with all muscle and little fat, can constrict the Support by holding the muscles too tight. If you are slender and have strong abdominal muscles from sit-ups and exercise, be especially conscious not to grip the lower ab muscles around the bellybutton. Be sure to send and not hold. If you have bellyfat, enjoy! Use that Support!

令人困惑的短语 – 支持

CONFUSING PHRASES – SUPPORT

让我们重温一下本章开头提到的那些容易混淆的短语。这些短语中有很多很常见，但实际上都是错误的。

Let’s revisit the Confusing Phrases from the beginning of the chapter. Many of these phrases are popular, but all of them are wrong.

令人困惑的短语 - 支持：

CONFUSING PHRASES – SUPPORT:

1.“横膈膜的支撑”

1. “Support from your diaphragm”

2.“用力抱住你的腹部”

2. “Hold your stomach really hard”

3.“收紧臀部”

3. “Clench your buttocks”

4. 唱歌时，腹部向外伸展以提供支撑

4. “Push your stomach out to support as you sing”

5.“挺起你的肋骨”

5. “Hold your ribs out”

6.“你不可能得到太多的支持”

6. “You can’t have too much Support”

让我们逐一检查一下：

Let’s examine each one:

1. “用横膈膜支撑。”这句话流传甚广，就像一句古老的民间传说。但它很容易让人困惑：你不是用横膈膜支撑身体，而是用横膈膜下方支撑身体。我称之为肚脐向下。别忘了西德尼·波蒂埃把横膈膜挤成一个结！才不是呢！

1. “Support from your diaphragm.” This phrase is so popular that it’s like an old folklore saying. But it’s confusing: You are not supporting from the diaphragm. You are instead supporting from underneath the diaphragm. I call it Bellybutton-Down. Don’t forget Sidney Poitier squeezing his diaphragm into a knot! NOT!

2. “用力抱住腹部”。用力抱住腹部只会让你全身紧张。不要抱住支撑点。唱歌时，我们必须始终保持“送出”。

2. “Hold your stomach really hard.” Holding your stomach “really hard” just gives you tension everywhere. Do not hold the Support. While singing we must always SEND.

火箭女郎艾米

Amy the Rockette

我的学生艾米是我认识的所有学生中身材最好的。她曾是百老汇舞者，在无线电城音乐厅与火箭女郎乐队担任舞蹈队长，还教授普拉提。由于她长期的舞蹈训练，艾米在歌唱支持方面遇到了困难，这并不奇怪。为了检查她的技术，我让艾米仰卧在地板上做“Ssssss”练习。当她呼气时收腹时，上腹部也会收紧。她的舞蹈训练要求艾米收紧所有腹部肌肉，包括上腹部和下腹部。对艾米来说，不让上腹部收紧是一个全新的练习。

My student Amy was in the best shape of anyone I knew. She was a Broadway dancer, a Dance Captain at Radio City Music Hall with the Rockettes, and taught Pilates. Because of all her dance training, not surprisingly, Amy was having difficulty with her singing Support. To check her technique, I had Amy lie on her back on the floor to do the “Ssssss” exercise. As she was bringing the bellybutton IN for her exhale, the upper abs were also clutching. Her dance training required Amy to hold in all her abdominal muscles, both upper and lower. It was a new practice for Amy to not have the upper abs engaged.

“天哪，我肚脐周围的腹肌都累坏了！是吗？”她惊呼道。

“Oh my goodness, the abs around my bellybutton are getting so tired! Is that right?” she exclaimed.

“是的！”我回答道。“只要肚脐的运动是向内移动而不是保持不动，就是对的。”

“Yes, it is!” I replied. “As long as the motion from the bellybutton is moving in and not holding, it is right.”

让我惊讶的是，虽然艾米的舞姿很棒，但一开始不收腹收腹地把肚脐往里收的动作，其实对她的身体很费劲。她的肚脐都累坏了！不过，时间长了就轻松了。唱歌也是运动训练嘛！

I was surprised that even though Amy was in magnificent shape as a dancer, the motion of moving the bellybutton in without clutching the upper abs was in fact physically taxing at first. Her bellybutton was tired! With a little time, it was easy. Singing is also athletic training!

3. “收紧臀部”。我称之为肚脐向下支撑，臀部确实向下——然而，收紧臀部只是在保持张力。现在就试着收紧臀部。注意你的喉咙会立刻收紧。你肯定不想在唱歌时喉咙紧绷，所以请不要为了支撑而收紧臀部。

3. “Clench your buttocks.” I call it Bellybutton-Down for your Support, and the buttocks are down – however, clenching your buttocks tight is just holding tension. Try clenching your buttocks right now. Notice that your throat gets tight immediately. You don’t want a tight throat while singing, so please, don’t clench your buttocks for Support.

4. “唱歌时挺腹支撑。” 这与身体的支撑动作相反。现在就自己试试吧。挺腹的同时发出“嘶嘶嘶嘶”的声音。你感觉到脖子和喉咙周围紧张吗？那是你最不想紧张的地方！

4. “Push your stomach out to support as you sing.” This is the opposite of what the body does to support. Try it yourself now. Do an “Ssssss” as you push your stomach out. Do you feel tension around your neck and in your throat? That’s the last place you want tension!

5. “挺胸收腹”。当你吸气至肺部底部时，你可以在镜子里看到胸腔扩张。这是横膈膜下移以腾出空间容纳空气的结果。问题是，当你呼气时，你是否应该挺胸收腹来支撑呼吸？如果你挺胸收腹，实际上是在增加肺部周围的外部张力，阻碍横膈膜进行不自主的呼吸。

5. “Hold your ribs out.” When you breathe into the bottom of your lungs, you can see in a mirror the ribcage expanding. This is a consequence of the diaphragm dropping down to make room for the air. The question is, as you are exhaling, should you hold the ribs out to help support the breath? If you are holding the ribs out, you are actually adding exterior tension around the lungs and hindering the diaphragm from doing its involuntary work.

6. “支撑力不宜过强。” 正如你在接下来的一些高音练习中看到的，支撑力的能量确实会随着你整个音域的变化而变化。如果你想“一直尽可能地支撑”，那是行不通的。而且，如果你试图用所有的腹肌来支撑，肺部和横膈膜周围的张力会堵塞一切。

6. “You can’t have too much Support.” As you will see in some of the exercises ahead to sing high notes, the energy of the Support does indeed change throughout the range of your voice. If you think “support as much as possible at all times,” it doesn’t work. And, if you are trying to support with all the abdominal muscles, the tension around the lungs and the diaphragm will jam everything.

组织一下自己...请勾选“支持”。

Organize yourself… Please check off Support.

 

 

接下来是共振。这个元素能释放出你真实而独一无二的声音。

Next up – Resonance. This element unlocks the sound of your true, one-of-a-kind voice.

第三章

chapter three

---

谐振

RESONANCE

克里·华盛顿

KERRY WASHINGTON

歌唱源于说话

Singing is Born Out of Speaking

凯丽·华盛顿联系了我——不是为了上声乐课，而是为了帮助她改善说话的声音。她每周要在百老汇演出八场克里斯托弗·德莫斯-布朗创作的扣人心弦的戏剧《美国儿子》。当我们想到知名演员登上百老汇舞台时，总是听起来很迷人——名气大、有机会在众人面前表演。但这项雄心勃勃的工作是一门艺术，每周演出八场并非易事。凯丽·华盛顿在表演准备方面就像奥运会运动员一样。她不放过任何机会，锻炼自己的身体、思想和情感。在我们的工作中，凯丽希望确保她能够沉浸在她的角色肯德拉·埃利斯-康纳——一位失踪的混血少女的母亲——的极端情绪中，并且永远不会失声。

Kerry Washington reached out to me – not for singing lessons, but to help her with her speaking voice. She had the demand of performing eight shows a week on Broadway in the gripping play by Christopher Demos-Brown, American Son. When we think of well-known actors starring on Broadway, it always sounds so glamorous – the fame, the opportunity to do ones’ craft in front of a lot of people. But this ambitious work is an art form, and performing eight shows a week is not for the meek. Kerry Washington is like an Olympic athlete when it comes to her acting preparation. She leaves nothing to chance, working out her body, her mind, and her emotions. For our work, Kerry wanted to make sure she could dive into the extreme emotions of her character, Kendra Ellis-Connor – the mother of a missing biracial teenager – and never lose her voice.

当然，前两个要素，呼吸和支持，必须到位 - 而 Kerry 完美地掌握了它们。接下来是时间将呼吸和支持与她的声音结合起来。Kerry 坚持不唱歌，所以我很开心地给她安排练习，让她找到嘴巴和嘴唇周围那种痒痒的、毫不费力的振动，我称之为“前沿通道共鸣器”。我们做了唇颤音、舌颤音等练习，还有另一个练习，我让她说话时就像文字活在她的脸颊上一样。在练习期间，我问 Kerry 是否知道歌曲“月亮河”。“哦，是的，”她说，“它出自我最喜欢的电影之一，蒂凡尼的早餐。”我站在工作室的一侧，向她抛出一个想象中的振动球，说道：“ Mooooon Riiiiiver。”她会把想象中的球抛回给我，“ Mooooon Riiiiiver。”然后，我偷偷地开始给歌词加音——就是亨利·曼西尼写的那个音符：“ Mooooon Riiiiiiiver ”。凯瑞也跟着唱了起来： “ Mooooon Riiiiiiiver。”然后我继续唱：“ Wiiiider than a mile。” “我知道你在做什么！”她嘲讽我。“没错，”我咧嘴一笑，“现在你开始唱歌了！”我告诉你，她的声音太美了。

Of course, the first two elements, The Breath and Support, must be in place – and Kerry nailed those perfectly. Then it was time to hookup The Breath and Support with her voice. Kerry insisted on not singing, so I had fun giving her exercises to find that tickling, effortless vibration around her mouth and lips, which I call The Front Passage resonators. We did exercises like lip trills, tongue trills, and another exercise where I told her to speak as if the words lived in her cheeks. During the exercises, I asked Kerry if she knew the song “Moon River.” “Oh yes,” she said, “it’s from one of my favorite movies, Breakfast at Tiffany’s.” I stood on one side of the studio and threw an imaginary ball of vibration to her, saying, “Mooooon Riiiiiver.” She’d throw the imaginary ball back to me, “Mooooon Riiiiiver.” Then, as sneaky as I could be, I started to add pitch to the words – the very notes that Henry Mancini wrote, “Mooooon Riiiiiiver.” Kerry played along and sung it back, “Mooooon Riiiiiiver.” Then, I continued, “Wiiiider than a mile.” “I know what you’re doing!” she needled me. “Yep,” I grinned, “Now your singing!” And let me tell you, her voice was gorgeous.

这完美地诠释了我的格言“歌声源于言语”。在凯瑞每天演出前的热身练习中加入唱歌，为她提供了一个充满活力、个性化、扎实的共鸣器——前通道——这样她就可以说话、喊叫、尖叫、哭泣、低语，无论角色要求什么，都能轻松产生共鸣，并将这种共鸣的力量带到后场，每周演出八场。

This was the perfect example of my adage “singing is born out of speaking.” Adding singing to Kerry’s daily warm-up before the play gave her a vibrant, personal, home base resonator – the Front Passage – so that she could speak, yell, scream, cry, whisper, whatever the character called for, with the effortless power of Resonance that would carry to the back of the house eight shows a week.

凯丽·华盛顿的角色广受好评，她从未缺席过任何一场演出。希望她的下一部百老汇作品是音乐剧！

Kerry Washington received rave reviews for her role, and never missed a performance. May her next Broadway show be a musical!

谐振

RESONANCE

3. 语音技巧方面

3. Voice Technique Side

共鸣——你的声音

RESONANCE – Your Voice

目标：学习如何激活个人声音共鸣板的共鸣——我称之为 前通道——用于说话和唱歌。

The Goal: To learn how to activate the Resonance of your personal vocal sounding board – what I call the Front Passage – for both speaking and singing.

为什么这很重要：这是您获得独特、健康、独一无二的声音的方式。

Why This Is Important: This is how you access your unique, healthy, one-of-a-kind voice.

需要改变的是：你可能会惊讶地发现，让你的声音以健康的方式产生共鸣所需的振动并非来自声带所在的喉咙。用喉咙说话或唱歌可能会导致“嗓子发痒”，也就是声带摩擦时产生的刺耳、像培根一样嘶嘶作响的声音。学习如何激活你的前声道共鸣器，将保持你说话的声音健康， 让你成为天生的歌手。

What Has To Change: You might be surprised that the vibration necessary to resonate your voice in a healthy manner doesn’t come from your throat where your vocal cords live. Speaking or singing in your throat can bring on “vocal fry,” that scratchy, bacon sizzling sound that happens when your vocal cords rub together. Learning how to activate your Front Passage resonators will keep your speaking voice healthy and make you the singer you were born to be.

“你听说过关于共振的什么？”

“What have you heard about Resonance?”

我询问每个新生他们学过什么，或者听说过哪些有关共振的知识。

I ask each new student what they have been taught, or what they’ve heard about Resonance.

以下这些是我经常听到的一些答案。有些是正确的，有些是错误的，但为了健康地说话和唱好歌，所有这些答案都需要进一步解释。

The following phrases are some of the answers I often hear. Some of them are correct, some are incorrect, but all of them need further explanation for healthy speaking and great singing.

容易混淆的短语——共鸣：

CONFUSING PHRASES – RESONANCE:

1.“戴着面具唱歌”

1. “Sing into the Mask”

2.“发出你的声音”

2. “Place your voice forward”

3.“对着鼻子唱歌”

3. “Sing into your nose”

4.“打开你的喉咙”

4. “Open your throat”

5.“用喉咙唱歌”

5. “Sing in your throat”

我们将在本章末尾重新讨论这些容易混淆的短语。首先，让我们来学习一下“共鸣”，以及健康说话和优美歌唱的含义！

We will revisit these Confusing Phrases at the end of the chapter. First, let’s learn about Resonance and what healthy speaking and great singing are all about!

共鸣——你的声音

RESONANCE – Your Voice

连接

The Connection

现在是时候把呼吸和支撑与你的声音联系起来了！那么，问题是，你该怎么做呢？你的声音是什么？你如何看待你的声音？

Now it is time to connect The Breath and the Support with your voice! So, the question is, how do you do that? What is your voice? How do you think about your voice?

让我们先来谈谈不该考虑的事情。

Let’s begin with what not to think about.

不要考虑你的声带

DON’T THINK ABOUT YOUR VOCAL CORDS

量子理论

The Quantum Theory

没错，你的喉咙里有声带，没有它们你就无法发出声音。它们是与生俱来的天赋。你的声带会振动，发出独一无二的声音，这完全属于你。

It’s true, you have vocal cords in your throat, and without them you wouldn’t have a voice. They are a gift at birth. Your vocal cords vibrate and have a unique, one-of-a-kind sound that is yours.

然而，就你的发声技巧而言，说话或唱歌时考虑声带会影响你自然的声音。我从经验中一直知道这一点，但有一天，我的学生把这个概念与科学联系起来了。

And yet, for your voice technique, thinking about your vocal cords when speaking or singing impedes your natural voice. I’ve always known this from experience, but then one day my student connected the concept to science.

“如果你考虑你的声带并试图告诉它们如何处理你的思想，声带就会失控，”在我的学生马特第一次上声乐课时，我这样对他说。

“If you think about your vocal cords and try to tell them what to do with your mind, the cords freak out,” I said to my student Matt during his first voice lesson.

“玛丽，你说得对！”马特惊呼道，“我是学物理的——而且这是真的！”听着马特证实我的观点，我兴奋地睁大了眼睛。“物理学中，量子理论认为，当你观察一个分子时，它会改变这个分子的状态。因此，如果我们想想声带，它们不会处于说话和唱歌的自然状态。”真是个灵光一闪的时刻！谢谢你，马特！

“Mary, you’re right!” Matt exclaimed, “I study physics – and it’s true!” My eyes widened with delight as I listened to Matt prove my point. “In physics, quantum theory says that when you observe a molecule, it changes the state of that molecule. Therefore, if we think about the vocal cords, they will not be in their natural state for speaking and singing.” What a light bulb moment! Thank you, Matt!

量子理论帮助我们理解发声技巧：我们不想观察并改变声带的自然状态。我们希望声带能够自由地自然地发挥作用，无需任何额外的努力。

Quantum theory helps us to understand our voice technique: We don’t want to observe and thus change the natural state of our vocal cords. We want the cords to be free to do their job naturally without any extraneous effort.

你的注意力放在哪里？

Where do you put your attention?

我会告诉你一个秘密：你现在要把你的声音视为共鸣。

I’ll let you in on a secret: You are now going to think of your voice as Resonance.

人体可以通过多种方式产生声音共鸣——例如头部、喉咙和胸部。现在，你不必把注意力放在声带和身体其他振动并增加声音共鸣的部位，而是要关注我所说的声音的主要共鸣器——前声道。

The human body can resonate the voice in many ways – namely the head, throat, and chest. Instead of putting your attention on the vocal cords and the other areas in your body that vibrate and add Resonance to your sound, you will now focus on what I call the dominant resonator of your voice – The Front Passage.

前声道是指面部从上唇到耳朵前方垂直向上的区域。头部的这个“声道”就像钢琴的共鸣板。前声道容纳着你声音的共鸣器或“扬声器”。

The Front Passage is the area in your face located from your upper lip and in front of your ears going straight up. This “passage” in your head is like the sounding board in a piano. The Front Passage houses the resonators or “speakers” of your voice.

吉他

The Guitar

想象一下，你的声音就像一把吉他：吉他有琴弦，由优质木材制成，内部镂空，形成一个很大的气穴。拨动琴弦后，吉他的气穴会在厚实的木材上振动，发出吉他独一无二的音色。

Think of your voice for a moment like a guitar: A guitar has strings, and is made of high-quality wood that is hollowed out inside, creating a large air pocket. After the strings are struck, that air pocket of the guitar vibrates against the rich wood and sends out the one-of-a-kind timbre of that guitar.

你也有弦——你的声带。你的脸部没有像吉他那样挖空的木头，而是有骨头和软骨，它们包围着气穴。一旦你的声带开始运动，这些气穴就会在前声道中振动，成为你声音的扬声器。因为你的面部骨骼结构是独一无二的，你的声音也是独一无二的。

You also have strings – your vocal cords. Instead of the hollowed-out wood of the guitar, you have bones and cartilage in your face that surround air pockets. Once your vocal cords are set in motion, those air pockets vibrate in the Front Passage, and become the speakers of your voice. Because your facial bone structure is one-of-a-kind, so too is your voice one-of-a-kind.

可乐瓶

The Cola Bottle

另一个关于“前通道”工作原理的例子是想象一个可乐瓶。瓶子的玻璃就像你脸部的骨头和软骨，里面是一袋空气。

Another example of how the Front Passage works is to think of a cola bottle. The glass of the bottle is like the bones and cartilage of your face, and inside is the pocket of air.

如果你对着瓶子吹气会发生什么？空气在玻璃上振动，发出浑厚的声音。我们将用同样的原理来让你的声音产生共鸣！

What happens if you blow into the bottle? The air vibrates against the glass and sends out a rich tone. We will use that same concept to resonate your voice!

基地

HOME BASE

没有地方比得上家

There’s No Place Like Home

让我们跳转到一个新的思路：与其把喉咙里的声带想象成你的乐器，不如把“前通道”想象成你真正的声音。这种新的思维映射将使你的声音“远离喉咙”，保持健康活力。想象你说出的话语从你的脸颊发出，就像你的脸颊是你的扬声器一样。不要抬高音调——只需让话语的振动停留在你的脸颊上。这是你说话和唱歌声音的新基地。

Let’s take a leap to a new thought: Instead of thinking of the vocal cords in your throat as your instrument, let’s imagine the Front Passage as actually being your voice. This new mental mapping will enable your voice to stay “out of your throat” and be vibrantly healthy. Think of the words you speak coming from your cheeks, as if your cheeks were your vocal speakers. Don’t lift the pitch of your voice higher – just let the vibration of your words live in your cheeks. This is your new HOME BASE for both your speaking and singing voice.

我把前通道称为你的“主要共鸣器”或本垒声音。

I call the Front Passage your “dominant resonator” or HOME BASE voice.

约翰的声音

John’s Voice

喉咙里的青蛙

A Frog in His Throat

约翰给我留下了深刻的印象。他只有十九岁，身材苗条，身高六英尺二英寸（约1.9米），拥有我听过的最美妙的青少年高音男中音训练嗓音。约翰是一位本地歌手，在洛杉矶协助我进行为期五天的歌唱强化训练。他也报名参加了我的工作坊。

John was impressive. At only nineteen years old he was handsome, slim, 6’2”, and had the most gorgeous high baritone trained voice I’d ever heard from a teenager. John was a local talent assisting me on my five-day singing intensive in Los Angeles. He was also signed up to participate in my workshop.

我有点困惑。我听过约翰唱得如此出色，轻松自信，然而，当我和他聊起即将开始的课程时，我感觉就像在跟一只青蛙说话。他所有的词都发自喉咙。我知道如果约翰继续这样下去，接下来就是嗓子受伤了。我没有跟约翰提起这件事，因为他正在帮我整理，但我有一个计划可以帮助他。

I was a bit puzzled. I had heard John sing magnificently with ease and confidence, and yet, as I chatted with him about the upcoming classes, it was like I was talking to a frog. All of his words came from his throat. I knew that if John kept it up, vocal damage would be next. I didn’t mention anything to John as he was helping me get organized, but I had a plan to help him.

开课第一天，二十个学生在我前面的地板上围成一个半圆形坐下。我们刚刚掌握了“革命性送递”的前两个要素：呼吸和支撑，现在是时候学习“共鸣”了。我转向坐在我右边队伍末尾地板上的约翰。“这个是给你的。”他专心地听着。

Twenty students sat in a huge half circle on the floor in front of me the first day of class. We had just conquered the first two elements of The Revolutionary Send, The Breath and Support, and now it was time to move on to Resonance. I turned to John on my right sitting on the floor at the end of the queue. “This one’s for you.” He listened intently.

在我的指导下（以及学生们的观察下），约翰将“喉咙里有青蛙”的噼啪声提升到嘴巴和脸颊周围痒痒的震动。随着他的话语从脸颊的扬声器中传出，约翰的讲话突然变得清晰而充满活力，就像他的歌声一样。然后，发生了一些事情。

With my instruction (and the students observing), John lifted the crackling sensation of the “frog in his throat” to a tickling vibration around his mouth and cheeks. With his words now sounding from the speakers of his cheeks, suddenly John’s speech was clear and vibrant, just like his singing. And then something happened.

约翰开始抽泣——而且停不下来。

John started sobbing – and he couldn’t stop.

“这太棒了！”我惊呼道。

“This is great!” I exclaimed.

“我感到很尴尬，”约翰回答道。他的眼泪止不住地流下来。

“I’m embarrassed,” John replied. His tears were uncontrollable.

“你把堵在喉咙里的情绪释放出来了！太棒了！继续哭！你意识到了什么？”约翰呜咽了又呜咽。然后我看到他脑子里灵光一闪。

“You are releasing the emotions that were literally stuck in your throat! It’s fantastic! Keep crying! What are you aware of?” John sobbed and sobbed. Then I saw a light bulb go off in his head.

“我努力在父亲面前表现得完美。”事情就是这样。

“I try to be perfect for my father.” And there it was.

“别收拾！继续哭。”

“Don’t clean up! Keep sobbing.”

“反正我也停不下来。”约翰的同学们都赞叹不已。他们都把他视为小组里的导师——现在他们可以支持他了。

“I can’t really stop anyway.” John’s classmates were in awe. They all looked up to him as a mentor in the group – now they could be a support to him.

“干得好，约翰！”几个人喊道。其他人则微笑着为他鼓掌。我保持着积极的心态。这真是一个突破！

“Good job, John!” a few of them shouted out. Others smiled and clapped for him. I kept up the positive vibes. This was a breakthrough!

“谁可以借给约翰一副太阳镜？”

“Who can lend John some sunglasses?”

“我能！”一名学生喊道。

“I can!” cried out one of students.

“太好了！约翰，今天下课的时候，你戴着墨镜回家，然后继续哭——这样即使在公共场合你也能被遮住。不用收拾！”

“Great! John, when you leave class today wear those sunglasses home and keep crying – that way you’ll be covered even in public. Don’t clean up!”

第二天，约翰告诉全班同学，他哭了整整二十四小时。全班起立鼓掌！约翰终于可以清晰地发出声音，感到如释重负，欣喜若狂。更棒的是，他感激自己对与父亲的关系有了新的认识。他的伤痛在各个层面都得到了治愈。

The next day, John shared with the class that he had sobbed a full twenty-four hours. They gave him a standing ovation! John felt relieved and joyous to have his voice clear. Even better, he was grateful to have a new awareness of his relationship with his father. Healing was on the way on every level.

不要听你的声音

DON’T LISTEN TO YOUR VOICE

玛丽莲·霍恩

Marilyn Horne

我很喜欢伟大的歌剧演唱家玛丽莲·霍恩的这句名言：“如果你的声音在你的脑海里听起来很好，那它就是错的！如果你的声音在你的脑海里听起来很糟糕，那它就是对的！”

I love this quote from the great opera singer Marilyn Horne: “If your voice sounds good in your head, it’s wrong! If your voice sounds bad in your head, it’s right!”

关注声音的振动感而不是声音的声音将会产生自然的泛音和声音自由。

Focusing on the sensation of vibration of your voice rather than on the sound of your voice will create natural overtones and vocal freedom.

每个音符中都有泛音——额外的音调，也称为频率，我们肉眼无法听到。正常振动的声音会产生这些泛音，它们会叠加在基音（我们听到的音符）之上，就像摩天大楼一样：地下室是基音，然后泛音会在低层、中层和顶层的顶层公寓中响起。现在，我们希望这些泛音能够毫不费力地响起。

In every note there are overtones – extra tones, also called frequencies, that we can’t hear with our naked ear. A voice vibrating properly will generate these overtones which are stacked on top of the fundamental tone (the note we do hear) like a skyscraper: There’s the fundamental frequency in the basement, and then the overtones ring on the lower floors, medium floors, and high above in the penthouse. Right now, we want these overtones to ring effortlessly.

不要在脑海里检查你的声音。如果你把声音拉回来，用耳朵听，你可能会觉得它在你的脑海里是一个宏大、圆润、低沉的声音，但实际上，房间里的声音很低沉。所以，当你的声音在你的脑海里听起来很小、很不悦耳时，很可能它在房间里是美妙的。

Don’t check the sound of your voice in your head. If you pull your voice back to listen to it in your own ear, it may seem like a big, round, deep sound in your head, but in reality, the sound out in the room is muffled. So, when the sound of your voice seems small and unappealing in your head, chances are it’s beautiful in the room.

不过别担心！有办法实时听到你的声音——怎么做？洗澡时唱歌！当声波撞击瓷砖墙壁时，你能听到你真实的音色回荡。如果你不能总是边洗澡边唱歌？那就练习时设置一个录音设备，稍后在录音中听听你的声音。只需按下播放键即可。

But don’t worry! There is a way to listen to your voice in real time – How? Sing in the shower! You can hear your true timbre echoing back at you as the sound waves hit the tile walls. And if you can’t always be taking a shower when you sing? Set a recording device while practicing and listen to your voice on the recording later. Just press play.

振动感

Sensation of Vibration

水晶玻璃

The Crystal Glass

我小时候，每逢圣诞节，妈妈总会拿出水晶高脚杯，举行我们这个盛大的节日家庭聚会。我们家大概有三十个孩子，孩子们从两岁到早熟的十三岁不等。大人们坐在餐桌旁等着晚餐，似乎从来没安静过，彼此叽叽喳喳，高声地宣泄着圣诞节的欢快气氛。

When I was a kid, at Christmas time my mother would bring out the crystal stemware for our big holiday family gathering. We numbered about thirty and the kids ranged from the age of two to precocious thirteen. Sitting at the table waiting for dinner to arrive, the adults never seemed to be quiet, chattering over each other keeping a high decibel level of Christmas cheer.

我的两个哥哥有个喜欢玩的把戏，用来吸引大家的注意：他们每人一只手放在水晶杯底部稳住杯底，在食指和中指上沾点水，然后用手指沿着杯口摸一圈。如果做得对，水晶就会发出“RINGGG”的声音，响彻整个房间。关键是要把声音弄得尽可能响，这样才能尽可能让人觉得烦！

My two big brothers had a trick they loved doing to get everybody’s attention: They’d each put one hand at the bottom of a crystal glass to steady it, put water on the index and middle fingers, and then run their fingers around the lip of the glass. If done right, the crystal would send out a RINGGG into the room. The point was to get the loudest ring possible to be as annoying as possible!

我记得看着他们磨练技巧：他们确保不让任何乱七八糟的餐巾纸或挥舞的手指碰到玻璃杯的钟形部分，以免弄脏“RINGGG”的钟声，而正是这种钟声让这个戏法既有趣又让人恼火。如果大人们停止所有谈话，像火警警报响起一样四处张望，我的兄弟们就会露出满意的笑容！

I remember watching them hone their technique: They made sure not to have any haphazard napkins or flailing fingers touching the bell of the glass that would dampen the RINGGG that made the trick so fun and irritating. If the adults stopped all conversation and looked around like a fire alarm just went off, my brothers beamed with satisfaction!

当您发现共振振动的感觉时，您不希望任何多余的张力抑制声音中泛音的潜力，例如拉回的舌头或紧绷的下巴。

As you discover the sensation of the vibration of your Resonance, you don’t want any extraneous tension to dampen the potential of the overtones in your voice, like a pulled back tongue, or a tight jaw.

做“嗯嗯”练习时，确保舌头放松：舌尖可以靠在下牙后方。下颌通常是造成紧张的元凶，所以咀嚼动作是放松下颌的绝佳方式。如果肌肉在运动，它们就不可能紧绷或保持紧张，你的声音中就能释放出更多的泛音。

When working on the “Hmmmmm” exercise, make sure the tongue is relaxed: The tip of the tongue can rest on the back of your bottom teeth. The jaw is often a culprit of tension, so the chewing motion is a fantastic way to release the jaw. If the muscles are moving, it’s not possible for them to clutch or hold tension, and more overtones will be free in your voice.

我兄弟们的承诺是让水晶玻璃杯的“RINGGG”声在圣诞派对上尽可能地震撼人心。至于你的声音，承诺是让你尽可能多地感受到震动，让你的礼物以最强劲、最动感的方式鲜活起来。

My brothers’ commitment was to make the RINGGG of the crystal glass as disruptive as possible at the Christmas party. For your voice, the commitment is to feel as much sensation of vibration as you can muster to let your gift LIVE in the most powerful and dynamic way possible.

治疗声音问题

HEALING VOCAL ISSUES

习惯性、心理性、生理性

Habitual, Psychological, Physical

1. 习惯性的

1. Habitual

家庭习惯——你如何说话？

Family Habits – How Do You Speak?

“歌唱源于说话。” 如果你能说话，你就能唱歌。作为学习语言的孩子，我们不仅要学习词语的构成，还要学习在哪里以及如何与来自家庭和社区的声音产生共鸣。

“Singing is born out of speaking.” If you can talk, you can sing. As children mastering language, we not only learn the formation of words, but we also learn where and how to resonate the voice from our family and community.

各种语言和口音的共鸣方式各不相同：法语中鼻音较多的元音。德语和希伯来语中靠近喉咙或喉咙内发音的辅音较多。密歇根州本地人说话时元音的共鸣带有刺耳的鼻音，而澳大利亚人说话时则流畅而清脆地向前振动。

A variety of languages and accents resonate differently: French has more vowels that are nasal. German and Hebrew have more consonants spoken near or in the throat. Michigan natives speak with vowels that resonate piercingly nasal, while Australians speak with a fluid and fresh forward vibration.

家人也能感受到自身的振动。迈克尔·杰克逊的家人说话声音都很高。你知道哪个家庭里每个人说话都很大声？还是轻声细语？抑或单调乏味？著名的百老汇歌手埃塞尔·默曼的声音共鸣非常强烈，以至于听起来就像她一直在喊叫。我很好奇她家人是怎么说话的。

Families can also pick up their own vibration. Michael Jackson’s family members pitch their voices very high. Do you know a family where everybody speaks loudly? Softly? Monotone? Famous Broadway belter Ethel Merman had so much resonance in her voice that it seemed like she was always shouting. I wonder how her family spoke.

我的工作是诊断和指导每个人的声音，这样即使有发声习惯，说话的声音也能自由健康，歌唱的声音也能充分发挥其潜力。

My job is to diagnose and guide each voice so that even with vocal habits, the speaking voice is free and healthy, and the singing voice is resonating in its full potential.

世界各地似乎普遍存在的一种发声习惯是“声带颤动”。这种用喉咙说话的习惯非常危险。随着时间的推移，声带上会形成息肉或结节——这是每个歌手都害怕的事情，也是许多歌手歌唱生涯终结的原因。更糟糕的是，多年后，他们可能会患上所谓的“发声障碍”——一种声带冻结的症状，这不仅会阻碍发声，还会造成剧痛。

The most common vocal habit that seems to be in every community around the world is vocal fry. This habit of speaking in the throat is dangerous. With time, a polyp or nodule can form on the vocal cords – the dread of every singer, and the reason many a singing career can come to an end. Even worse, years later they might get what’s called “vocal dysphonia” – a sort of freezing of the vocal cords, which not only stops the voice from working, but is downright painful.

我发现——声带嘶哑是会传染的！难怪它在世界各地都很普遍。这是我亲身经历的。

And what I’ve discovered – vocal fry is contagious! No wonder it’s prominent worldwide. I learned that firsthand.

瑜伽中心

The Yoga Center

声带干燥会传染

Vocal Fry is Contagious

在旧金山探亲期间，我去了一家健康中心，报名参加了瑜伽课。我前面坐着两位二十多岁的女性朋友，正和接待员闲聊。一位是《旧金山纪事报》的撰稿人，另一位是医学院的学生。我灵敏的耳朵立刻捕捉到了这些年轻专业人士声音的共鸣——而且，我完全被震惊了！她们说的每一个字都像是在喉咙里发出的。她们的声音听起来粗糙沙哑，就像石头摩擦一样。更令人震惊的是，当我开始和接待员说话时，我竟然也用同样的语气说话！这简直太有感染力了！尽管我很清楚不能用喉咙说话，但我还是被她们的嗓音感染了！我为什么要这么做？我突然明白了——也许只是来这里参观，我想融入她们的圈子。我想融入其中。那些女孩看起来“很酷”，我也想变得很酷！

While visiting family in San Francisco, I went to a health center and signed up for a yoga class. There were two girlfriends in their twenties in front of me chit-chatting with the receptionist. One was a writer for the San Francisco Chronicle and the other a medical student. My sensitive ears immediately went to the Resonance of the voices of these young professionals – and let me tell you, my ears were shocked! Every word they spoke was in the throat. Their voices sounded coarse and gravelly, like rocks rubbing together. Even more shocking, when I started to speak to the receptionist, I was speaking the same way! It was contagious! Even though I knew perfectly well not to speak in my throat, I took on their vocal fry! Why would I do that? It dawned on me – perhaps because I was just visiting, I wanted to feel a part of the group. I wanted to belong. Those gals seemed “cool,” and I wanted to be cool too!

幸好，我立刻知道该如何补救。我让自己镇定下来。我把注意力从“我很酷，我很放松，我属于这里”的模式中转移开来，喉咙里传来培根滋滋作响的声音，我的思绪立刻转向了Front Passage共鸣器。“嗯嗯嗯，”我低声说道。我把震动的感觉重新带回了嘴唇和嘴巴。

Fortunately, I knew immediately how to remedy the situation. I got myself together. I switched my attention from the “I’m cool, I’m relaxed, I belong,” mode with the bacon sizzling sound in my throat and directed my thoughts immediately to the Front Passage resonators. “Hmmmmm,” I said under my breath. I brought the sensation of vibration right back to my lips and mouth.

那天我是学生！我必须言行一致。我默默地对自己说：“玛丽，用你的脸颊说话——用你的脸颊说话！”

That day I was the student! I had to walk the walk. I whispered silently to myself, “Speak through your cheeks, Mary – through your cheeks!”

2. 心理

2. PSYCHOLOGICAL

金·卡戴珊——Vocal Fry

Kim Kardashian – Vocal Fry

真人秀超级明星金·卡戴珊（《与卡戴珊姐妹同行》）或许是第一个让“声带颤音”流行起来的人。我不认为她是有意识这么做的，但我确实觉得她的“声带颤音”背后有某种心理因素。当我听到卡戴珊女士沙哑的嗓音时，我感觉她在潜意识里削弱自己的影响力。“声带颤音”是为了转移她因参加真人秀节目而获得的全球人气，让她看起来更“正常”——仿佛在对观众说：“别在意我的名气、我的财富和我的魅力。我其实和你们其他人一样。”

Reality TV superstar Kim Kardashian (Keeping Up with the Kardashians) was perhaps the first to make vocal fry popular. I don’t believe she does it consciously – but I do feel there is a psychological reason behind her vocal fry. When I hear Ms. Kardashian’s throaty timbre, it says to me that she’s subconsciously diminishing her power. Using vocal fry is a way to deflect her worldwide popularity – for being on a reality TV show – so that she can seem “normal” – as if to say to her viewers, “Ignore my fame, my fortune, my appeal. I’m really just like the rest of you.”

真正令人瞩目的是，在成为著名真人秀明星后，金·卡戴珊找到了另一份使命：学习法律，并参与刑事司法改革。卡戴珊女士孜孜不倦地为非暴力毒品犯罪者艾丽斯·约翰逊争取终身监禁的减刑。当卡戴珊女士公开热情地讲述她的工作时，神奇的事情发生了——她的声音消失了。为什么？当金·卡戴珊拥有真正的热情——一种承诺——她所信仰的东西——值得分享的有价值的东西时，她的声音随之而来。她的演讲充满力量、活力四射、充满活力，并富有共鸣的色彩。卡戴珊女士不必为自己的名气道歉。她找到了不带任何评判的目标。这是一场声乐上的胜利。

What’s truly remarkable is that after becoming a famous reality TV star, Kim Kardashian found another calling: studying law and helping with criminal justice reform. Ms. Kardashian worked tirelessly to advocate for a life sentence to be commuted of the nonviolent drug offender, Alice Johnson. As Ms. Kardashian spoke publicly and passionately about her work, something magical happened – her vocal fry disappeared. Why? When Kim Kardashian had a true passion – a commitment – something she believed in – something of value to share – her voice followed. Her speaking was powerful, vibrant, dynamic, and rich with resonant overtones. Ms. Kardashian didn’t have to apologize for her fame. She found a purpose without judgment. It was a vocal triumph.

3. 身体

3. PHYSICAL

推动声音——喧闹的餐厅

Pushing the Voice – Loud Restaurants

我们所有人最大的发声难题之一就是在喧闹的餐厅里，为了盖过嘈杂和嘈杂的声音说话。这很容易拉伤声带。小心！在喧闹的场所，一定要有意识地激活你的超级肚脐，用你的脸颊来表达你的声音。如果你真的用力说话，就停止说话，喝水，然后好好睡一觉。重复一遍。

One of the biggest vocal dilemmas for all of us is being in loud restaurants and trying to speak above the noise and clatter to be heard. It’s so easy to strain the vocal cords. Beware! When in loud establishments be sure to consciously engage your Super Bellybutton and use your cheeks as the speakers of your voice. If you do push your voice, stop talking, drink water, and get a good night’s sleep. Repeat.

贝丝

Beth

啦啦队

Cheerleading

我嫂子贝丝从高中起嗓子就受损了。她以前是个热情的啦啦队员，经常用力发声，结果嗓子上长了结节。情况很严重——医生告诉贝丝，她声带上的结节就像砂纸一样。即使手术也无法去除她声带上那么多粗糙的肿块。这些结节太小，数量又太多。

My sister-in-law Beth has had a damaged voice since high school. She was an enthusiastic cheerleader and pushed her voice so much that she got nodules. It’s a serious case – the doctor told Beth that the nodules on her vocal cords are like sandpaper. Not even an operation could remove the many course bumps on her vocal cords. The nodules are too small and there are too many of them.

贝丝一生都不得不忍受自己粗糙的嗓音。她的声音很容易疲劳，朋友和同事很难听清她的声音——尤其是在电话里。贝丝热爱唱歌，而且恰好还是一位才华横溢的音乐家，这也很令人难过。她是我认识的唯一一个能听一遍就记住每个音符和歌词的人。

Beth has had to manage with a rough voice her whole life. Her voice gets tired easily and friends and colleagues have such a hard time hearing her – especially on the telephone. It’s also sad because Beth loves to sing, and she happens to be a talented musician. She is the only person I know who can hear a song once and remember every note and lyric.

从那时起，贝丝就一直和我一起练习，将她的呼吸和支撑与她的声音联系起来。现在，当贝丝专注于通过脸颊共鸣器发声时，她说话的声音充满活力，甚至还能唱歌！就像立体声音响突然打开了一样。“我用我的共鸣器说话！”贝丝自豪地说，她的声音听起来棒极了！

Beth has since worked with me connecting her Breath and Support with her voice. Now when Beth focuses on placing her voice through her cheek resonators, her speaking voice is vibrant, and she can even sing! It’s like the speakers of a stereo suddenly turning on. “I speak from my resonators!” Beth says proudly, and she sounds fantastic!

贝丝的声带上永远会有砂纸般的小结，但由于她有意将自己的声音与共鸣联系起来，贝丝的声音成为了一个奇迹。

Beth will always have the sandpaper nodules on her vocal cords, but with her intention to connect her voice to her Resonance, Beth’s voice is a miracle.

共振练习

RESONANCE EXCERCISES

将呼吸和支持与你的声音联系起来

Connecting The Breath and Support with Your Voice

现在您已经了解了声音技巧方面的前三个重要元素——呼吸、支持和共鸣——现在是时候将它们联系在一起，这样您就可以始终拥有健康的说话和美妙的歌声。

Now that you’ve learned about the first three important elements on the Voice Technique Side – The Breath, Support, and Resonance – it’s time to connect them all together so you can always have healthy speaking and great singing.

口语练习

SPEAKING EXERCISE

现在您可以感受到嘴唇周围和上方的振动，是时候将其与说话联系起来了。

Now that you can feel the sensation of vibration around your lips and above, it’s time to connect it with speaking.

为了识别元音和辅音，我将使用“国际音标”（IPA）符号。当我使用IPA时，括号的使用方式如下：

To identify the vowels and consonants, I will us the “International Phonetic Alphabet” (IPA) symbols. When I use the IPA, brackets will be used as follows:

[mi] 如同“我”

[mi] as in “me”

[me] 类似于“可能”

[me] as in “may”

[ma] 如同 “ma”

[ma] as in “ma”

[mo] 类似于“mow”

[mo] as in “mow”

[mu] 类似于“哞哞”

[mu] as in “moo”

断奏练习 – 添加音调

STACCATO EXERCISE – ADD PITCH

[mi ' me ' ma ' mo ' mu]

[mi ‘ me ‘ ma ‘ mo ‘ mu]

意大利语中“Staccato”的意思是“断断续续”。连续的每个音节都会断断续续，而且很短。让我们用手重复之前的口语练习，同时在说出的音节上增加音高……瞧！你开始唱歌了！

“Staccato” in Italian means “detached.” Each syllable in a row will be detached and short. Let’s do the same previous Speaking Exercise with the hands while adding PITCH to the spoken syllables and…voila! You’re singing!

选择一个与你说话声音接近的音高。下图显示的是中央C音符。对大多数人来说，这个音符与你说话声音接近。（对于女性和儿童来说，钢琴上的中央C音符与你说话的声音音高相同。对于男性来说，你说话的声音自然会低一个八度。为了方便理解，我将所有人都称之为中央C音符。）

Choose a pitch that is around your speaking voice. The picture below shows the musical note middle C. For most, that’s around your speaking voice. (For women and children, the middle C on the piano is the same pitch as your voice. For men, your voice will naturally sound an octave lower. For our purposes, I will call this note middle C for all.)

容易混淆的短语——共鸣

CONFUSING PHRASES – RESONANCE

让我们重新回顾本章开头的那些令人困惑的短语，并弄清楚它们：

Let’s revisit the Confusing Phrases from the beginning of the chapter and get them clear:

容易混淆的短语——共鸣：

CONFUSING PHRASES – RESONANCE:

1.“戴着面具唱歌”

1. “Sing into the Mask”

2.“发出你的声音”

2. “Place your voice forward”

3.“对着鼻子唱歌”

3. “Sing into your nose”

4.“打开你的喉咙”

4. “Open your throat”

5.“用喉咙唱歌”

5. “Sing in your throat”

让我们逐一检查一下：

Let’s examine each one:

1. “对着面罩唱歌”。面罩指的是对着脸部前方唱歌：额头、鼻子、脸颊和嘴唇。这与我的术语“前声道”（Front Passage）类似，但“面罩”指的是更具体的前/前位置。如果歌手一直在用自己的耳朵检查和聆听自己的声音，“对着面罩唱歌”可能是一个很好的指令。在这种情况下，将面罩集中在前方可以通过使共振点向前移动来纠正这个坏习惯。但是，如果共振点的自然位置已经向前，那么“面罩”可能会将声音推得太靠前，并最大限度地降低声音的振动。我的术语“前声道”仍然向前，但它覆盖的区域更大——从上唇到耳朵前方，一直向上。歌手可以扩大他们的共鸣板，将他们的声音放大到最大共振点。

1. “Sing into the Mask.” The Mask suggests singing into the front of the face: forehead, nose, cheeks, and lips. This is similar to my term, the Front Passage – but Mask implies a more specific front/forward location. “Sing into the Mask” can be an excellent command if the singer has been checking and listening to their voice back in their own ear. In this case, the focused front “placement” of the Mask can rectify that bad habit by bringing the Resonance forward. But if the natural position of the Resonance is already forward, the term Mask might push the voice too far forward and minimize the full vibration of the voice. My term the Front Passage is still forward, but it covers a larger area – from your upper lip and in front of your ears going straight up. The singer can enlarge their sounding board and amplify their voice to its maximum Resonance.

2.“把你的声音放在前部。”对于像Beth这样声带上有小结的人来说，这个指令是一个很好的提示，可以帮助声音产生共鸣。对于那些用喉咙唱歌或把声音放得太靠后的人来说，我也会使用这个指令。但对于那些没有这些问题并且用前声部唱得很好的人，我会避免使用“位置”或“位置”这个词。对于歌手来说，把声音放在一个精确的位置会限制他们声音的全部潜力。你希望共鸣是活生生的，而不是被抑制的。我更喜欢说“期望它在那里”而不是“把它放在那里”。

2. “Place your voice forward.” For those like Beth who have nodules on their vocal cords, this command is an excellent cue to help resonate the voice. For those who sing in their throat or too far back in their head, I would also use this command. But for those who don’t have these issues and sing beautifully in the Front Passage, I shy away from the word Place or Placement. For singers to place or put the voice in an exact spot can constrict the full potential of their voice. You want the Resonance to live and never to be held. I prefer to say, “Expect it there” rather than “Place it there.”

3. “用鼻子唱歌”。对于大多数歌手来说，选择只让振动集中在鼻子上会使声音变得狭窄，带有鼻音。话虽如此，对于那些喉咙位置靠后的人来说，“用鼻子唱歌”实际上可以解决这个问题。歌手可能会感觉声音在鼻子里，但这种调整会让声音向前移动，从而与前声道共鸣器产生共鸣。在这种情况下，信不信由你，声音会变得自由优美，没有一丝鼻音。对于没有这个问题的人来说？不要这样做。

3. “Sing in your nose.” Choosing to place the vibration only in your nose for most singers would make the sound pinched and nasal. That said, for someone who sings way back in the throat, “Sing in your nose” can actually correct the problem. The singer might feel like it’s in the nose, but the adjustment brings the voice forward to engage the Front Passage resonators. In this case, believe it or not, the voice would be free and beautiful without a shred of nasality. For everybody else without this issue? Don’t do it.

4.“打开你的喉咙”。喉咙的本位应该是正常的，就像你说话一样。你说话时喉咙不会张得大大的，那样会发出气音，所以唱歌时不要这样做。然而， 有几次我告诉学生“打开你的喉咙”。学生的喉咙太紧了，需要放松一下。根据我的经验，这有时可能表明学生受到了虐待。收缩的喉咙起到一种保护作用。在这种情况下，打开并释放喉咙使其恢复“正常”对于学生的声音和康复至关重要。对于那些喉咙非常紧的人来说，“打开你的喉咙”命令有助于将声音恢复正常。但是，对于你们大多数人来说，你们没有这个问题，所以请不要打开你们的喉咙！

4. “Open your throat.” The Home Base of the throat should be normal, just as if you were speaking. You don’t speak with a wide-open throat, inducing a breathy sound, so don’t do it when you’re singing. However, there have been a few times when I’ve told a student to “Open your throat.” The student was holding the throat so tightly that it needed to be released. In my experience, this sometimes could indicate that the student has been abused. The constricted throat acts as a kind of protection. In this case, opening and releasing the throat back to “normal” is essential for the sound and healing for the student. For those of you who are holding a very tight throat, the “Open your throat” command is helpful to bring the voice back to normal. However, for most of you, you don’t have this issue, so please do not open your throat!

5. “用喉咙唱歌。” 使用这个指令的老师希望你把声带想象成你的乐器。事实上，声带在喉咙里振动并发声。但是，如果你在唱歌时只顾着喉咙和声带，就会招致不必要的紧张，甚至可能损害嗓音。不要把注意力集中在用喉咙唱歌上。在你的创造力发挥中，你可能会希望某个孤立的声音也能“带喉音”。如果你有意识地选择让这种声音融入你充满艺术感的声音中，那么它可能在世界上占有一席之地。否则，就不可能了。

5. “Sing in your throat.” The teachers who use this command want you to think of the vocal cords as your instrument. It is a fact that there are vocal cords vibrating and phonating in the throat. But if you think about your throat and vocal cords while singing, you invite unwanted tension and possible damage to the voice. Don’t focus your mental attention on singing in the throat. There may be a moment in your creativity that you’ll want an isolated sound to be “throaty.” If you are making a conscious choice to have this sound on your artistic palate of vocal colors, then it may have a place in the world. Otherwise, NO.

阿里安娜

Arianna

毛细血管脆性

Capillary Fragility

意大利一位美丽而才华横溢的年轻流行歌手阿里安娜来找我，当时她正饱受一个棘手的诊断之苦：医生说她的声带非常脆弱。这个问题与毛细血管脆弱性有关——这意味着她全身的毛细血管壁异常容易破裂。阿里安娜的声带极易出血。为了防止这种情况发生，医生建议她进行手术。

A beautiful and talented young pop singer in Italy, Arianna, came to me while in the throes of a difficult diagnosis: Her doctor said she had very fragile vocal cords. The problem was related to capillary fragility – which meant that the capillary walls throughout her body were abnormally susceptible to rupture. Arianna’s vocal cords were at high risk of hemorrhaging. To prevent this, the doctor suggested surgery.

我看得出阿里安娜对手术很担心，但同时，听到她用喉咙说话——严重的声带撕裂——我又感到一阵恐慌。经过一番调查，我发现阿里安娜被要求摩擦声带，作为一种发声练习。

I could tell that Arianna was worried about the surgery, but at the same time, I was alarmed when I heard her speaking in her throat – a severe case of vocal fry. After some investigation, I found out that Arianna was instructed to make her vocal cords rub together as a vocal exercise.

“这个练习很危险，”我告诉她。“结节是声带摩擦形成的小茧。你的情况甚至可能会引起声带出血。”

“This exercise is dangerous,” I told her. “Nodules are little callouses that are formed by the friction of the vocal cords rubbing together. And in your case, your cords might even hemorrhage.”

阿里安娜看着我，眼里噙满了泪水。“我跟老师说这不舒服。我告诉她我不喜欢。她说不用担心——这对我的声音完全没问题。”

Arianna looked at me with tears welling up in her eyes. “I told my teacher it wasn’t comfortable. I told her I didn’t like it. She said not to worry – that it was completely healthy for my voice.”

“嗯，你的医生检测出毛细血管脆弱，想做手术帮你。”阿里安娜点头表示同意。“既然你同意，我们来练习一些重要的发声技巧，减轻你声带的压力，这样它们就能在手术前恢复。好吗？”

“Well, your doctor has detected capillary fragility and wants to do surgery to help you.” Arianna nodded yes. “With your permission, let’s practice some important voice techniques to take the pressure off your vocal cords so they can heal even before your surgery. Okay?”

“好的，”她笑着说。

“Okay,” she smiled.

幸运的是，仅仅一节课，阿里安娜就重新调整了思路，让她的声音在“前声道”（Front Passage）而不是喉咙处产生共鸣。除了正确连接呼吸和支撑（她学习的另一项技巧从未提到支撑）之外，阿里安娜还从根本上改变了自己的演唱方式。

Fortunately, in just one lesson, Arianna realigned her thoughts to make her voice resonate in the Front Passage rather than in her throat. Along with connecting the proper Breath and Support (the other technique she studied never talked about Support), Arianna had fundamentally changed the way she sang.

阿里安娜面临两个选择：要么放弃手术，依靠训练；要么两者兼顾。她决定两者兼顾——改变声带训练方法，然后接受手术。

Arianna had a choice – take a pass on the surgery and rely on the training, or do both. She decided to do both – help her vocal cords with a change in technique and have the operation.

阿里安娜告诉我，她把我们一起练习的所有技巧都运用了。从那以后，她的声音就一直很健康。如今，阿里安娜是一位成功的职业歌手。

Arianna told me that she applied all the techniques we did together. She’s had a healthy voice ever since. Today Arianna is a successful professional singer.

组织一下自己...请勾选“共鸣”。

Organize yourself… Please check off Resonance.

 

 

现在，你已经掌握了“革命性发送”的前三个要素——呼吸、支撑和共鸣，调整好了说话的声音，让它在未来几年里保持清新健康。而且，你已经迈出了运用这三个基本要素唱歌的第一步。恭喜！这已经是一个巨大的成就了！

You have now adjusted your speaking voice to be fresh and healthy for years to come with the first three elements of The Revolutionary Send – The Breath, Support, and Resonance. AND you’ve taken the first steps to SING with those three essential elements in place. Congratulations! That’s a huge accomplishment already!

在我们讨论和演唱声音技巧方面的最后两个元素——地板和金字塔——之前，我们需要立即跳到革命发送的情感生活方面，从个性化开始。

Before we discuss and sing with the last two elements on the Voice Technique Side – Floors and Pyramid – we need to jump across right away to the Emotional Life Side of The Revolutionary Send, starting with Personalization.

最好的歌唱不仅仅关乎嗓音技巧。最好的歌唱是当听众能够与你的情感真谛产生共鸣时。

The BEST singing is not just about voice technique. The BEST singing is when the audience can connect to your emotional truth.

你的发声技巧蕴含在你的情绪中，而你的情绪也蕴含在你的发声技巧中。

Your voice technique is in your emotions, and your emotions are in your voice technique.

第四章

chapter four

---

个性化

PERSONALIZATION

伯纳黛特·彼得斯

BERNADETTE PETERS

星期天告诉我

Tell Me on a Sunday

我刚搬到纽约，追寻登上百老汇的梦想。当时我感觉很孤独——我的家人和朋友都在遥远的加州，而我却还在努力忘掉一个男人。唉，有什么好忘掉的呢？他曾是我大学时最好的朋友，我们一起经历过各种事情，但从未有过浪漫的爱情。连一个吻都没有。他曾多次暗示我，也许有一天情况会有所改变，但我必须接受一个事实：嗯，他其实没那么喜欢我。

I had just moved to New York to follow my dream to be on Broadway. I felt pretty isolated at the time – my family and friends were far away in California, and I was still getting over a guy. Well, what was there to get over? He had been my best friend in college, and we had done everything together, but romance was never in the picture. Never a kiss. He had given me a couple of signs that maybe that would change one day, but I had to come to terms with the fact that, well, he just wasn’t that into me.

我决定犒劳自己一场百老汇演出。我从小就喜欢音乐剧，但从未见过这样的场面：伯纳黛特·彼得斯孤身一人站在舞台上，坐在角落里，向她深爱却正在分手的男人伸出手，泪流满面，唱着“请在星期天告诉我”。 在这场戏里，那个男人和她在一起——但这是一场单人秀，所以舞台上并没有真正的男人。

I decided to treat myself to a Broadway show. I had loved musicals my entire young life, but I’d never seen anything like this before: There was Bernadette Peters, completely alone on stage, sitting in the corner, reaching to the man she loved who was breaking up with her, crying her eyes out, and singing, “Tell me on a Sunday, please.” In the scene, the man was there with her – but this was a one-woman show, so there was no real man actually on the stage.

当时我不知道该怎么称呼它，但伯纳黛特·彼得斯在她个性化的演唱中，直接对着她自己唱歌。她如此私密，如此脆弱。她将毁灭性的痛苦展现出来，仿佛房间里没有其他人，更不用说满座的观众了。她那极度痛苦的失恋触动了我的心。她的声音……完美。声音和痛苦之间没有任何分离。如果她没有唱准一个音符，我肯定没有意识到。就好像我是剧院里唯一的人，与她一起经历这亲密的时刻。我觉得她只是在为我唱歌——理解我痛苦的真相：我永远不会和我爱的这个男人在一起。我也哭了。

I didn’t know what to call it at the time, but Bernadette Peters was in her Personalization singing directly to her person. She was so private, so vulnerable. She was exposing devastating pain as if nobody else was in the room, let alone a sold-out audience. Her excruciating loss of love hit my heart. Her voice was…perfect. There was no separation between sound and pain. If she didn’t hit a note, I certainly wasn’t aware of it. It was as if I were the only person in the theater, experiencing this intimate moment with her. I felt like she was singing just for me – understanding my painful truth: I’d never be with this man whom I loved. I sobbed my eyes out too.

个性化

PERSONALIZATION

1. 情感生活方面

1. Emotional Life Side

个性化——个性化

PERSONALIZATION – Make it Personal

目标：让你所唱的歌符合你的个人风格。

The Goal: To make what you sing personal to you.

为什么这很重要：将你与你的歌声联系起来，是解锁你歌曲诠释的关键，并以技术手段本身无法实现的方式提升你的声音。当你将词曲作者的创作与你自己的人生经历融合在一起时，你的听众会听到它，感受到它，并通过你的声音和歌曲，体会到他们自己的故事。

Why This Is Important: Linking you to your singing is the key that unlocks the interpretation of your songs and improves the sound of your voice in a way the technical components don’t offer by themselves. When you merge what the songwriter wrote with your own life experience, your audience will hear it, feel it, and recognize their own personal story through your voice and song.

需要改变的是：你必须停止刻意追求好听。不要闭上眼睛自顾自地唱歌，也不要捂住耳朵听自己的声音。关键在于，让你和自己的歌声产生共鸣。

What Has To Change: You must stop trying to sound good. Don’t close your eyes and sing to yourself, and don’t put your hand over your ear to listen to your own voice. Instead, linking you to your song is the key.

个性化

MAKE IT PERSONAL

我们来聊聊你吧。还有什么比这更私人的事呢？

Let’s talk about you. What’s more personal than that?

让你与其他人区别开来的最重要的东西就是你自己。

The most important thing that sets you apart from all the rest is you.

你已经足够好了。你真的足够好了。你真的好到难以置信。——

苏珊·巴特森

You are enough. You’re so enough. It’s unbelievable how enough you are.

– Susan Batson

你真有趣。这就是宝藏。你的人生，你看待世界的方式——你拥有的，或者尚未拥有但渴望拥有的亲密关系——那些带给你纯粹快乐或让你感到一文不值的时光——所有这些都是你的财富，你的真我，你的资产。你就是独一无二的你。

You are so interesting. That is the treasure. Your life, and the way you look at the world – the intimate relationships you have, or haven’t had but wish you did – the times that brought you pure joy or made you feel worthless – all these are your goods, your truth, your assets. You are special just being you.

两种个性化方式

TWO WAYS TO PERSONALIZE

人物与平行情境

The Person and the Parallel Situation

您需要关注两个重要的个性化设置：

There are two important Personalizations you will focus on:

1.你唱歌的对象

1. The Person to whom you are singing

2.你生活中与你选择的歌曲的故事相似的平行情况或事件

2. The Parallel Situation or event from your life that is similar to the story of the song you choose

1. 人

1. THE PERSON

无论你是在舞台上公开演唱，还是在车里私下演唱，找到一个和你生活经历相似的人来演唱都至关重要。这会赋予你的歌曲独特的意义。你的音色会找到一种神奇的音调变化，这是技术无法传授的。另一方面，当你和和你生活经历相似的人一起唱歌时，你的演唱技巧也会得到提升——从唱高音到唱准音准。作为学生，后来成为老师，我都经历过这两种情况。

Whether you’re singing publicly on a stage, or privately in your car, finding the person to whom you sing your song from your own life is so important. It brings a specificity of meaning to your song. The timbre of your voice finds a magical inflection that can’t be taught technically. And on the other side – your voice technique improves when you sing to someone from your own life experience – from hitting high notes, to singing on pitch. As the student, and then the teacher, I have experienced both.

学生玛丽

Mary, the Student

通过个性化达到高C

Hitting the High C through Personalization

我当时正在参加一场纪念安德鲁·劳埃德·韦伯音乐的评论节目的试镜。试镜时，我被安排演唱几首歌曲。准备材料时，一切都很顺利——然后，突然出问题了！《歌剧魅影》中《想想我》结尾的高音C把我吓了一跳。我通常都能毫无问题地唱出那个高音C，但突然之间，我害怕了。害怕唱不出来。害怕试镜时搞砸了。担心自己唱得不够好。我请来了表演教练苏珊·巴特森。

I was auditioning for a review that celebrated the music of Andrew Lloyd Webber. I was given a variety of songs to sing for the audition. All was going quite well as I prepped the material – and then, snag! The high C at the end of “Think of Me” from The Phantom of the Opera freaked me out. I could usually sing that high C no problem, but all of a sudden, I was scared. Scared it wouldn’t be there. Scared I’d screw it up in the audition. Worried it didn’t sound good enough. I called upon my acting coach, Susan Batson.

苏珊让我想起了“个性化”。我没有纠结于歌曲结尾该唱哪个音，而是从自己的生活中挑选了一个完美的人来演唱这首歌。当我把我的私密故事发给她时，突然间，每次都能听到那闪耀的高音C，毫不费力——即使是在试镜的时候。

Susan reminded me of Personalization. Instead of worrying about the note I had to hit at the end of the song, I picked the perfect person from my own life to sing the song to. As I sent my intimate story to my person, suddenly the high C was there every time, glittering, and effortless – even at the audition.

玛丽老师

Mary, the Teacher

Jason 如何在 Pitch 上演唱

How Jason Sang on Pitch

我去洛杉矶教了一个为期两天的歌唱工作坊。当一个学生告诉我他是个演员，曾出演过电影《吉屋出租》时，我兴奋极了。一个会唱歌的电影演员？简直是天大的宝藏！杰森把一首颇具挑战性的流行歌曲的乐谱放在我面前。我高兴地用钢琴为他伴奏。

I went to Los Angeles to teach a two-day singing workshop. I got very excited when one of the students told me he was an actor who had been in the movie Rent. A film actor who sings? Gold mine! Jason put the sheet music of a challenging pop song in front of me. I happily accompanied him on the piano.

杰森唱歌时 100% 的音都跑调了。

Jason sang 100% of the notes off pitch.

杰森随后告诉我，他在电影里没唱歌，只是演戏而已——但他真的很想唱歌。我相信每个人都能唱歌，而且音准也准，所以我们就开始了。“这会很有趣的！”我向杰森保证。

Jason then shared with me that he hadn’t sung in the movie, just acted – but he really wanted to sing. I believe everybody can sing, and on pitch, so we got to work. “This will be fun!” I assured Jason.

很多声乐老师在辅导一个跑调的学生时，会告诉他们要专注于音高，听一听，然后改正。但根据我的经验，只靠分析思维来纠正音高是行不通的。学生越是纠结于音高，音高就越不对。

When working with a student who waivers off pitch, many voice teachers tell the student to focus on the pitch, hear it, and change it. In my experience, using only analytical thought to correct pitch doesn’t work. The more the student thinks about the pitch, the more the pitch is wrong.

将前三个发声技巧要素——呼吸、支撑和共鸣——结合在一起固然重要，但让杰森“音准完美”的关键在于他的个性化。杰森在流行歌曲中找到了他所演唱的对象。他的故事变得如此清晰，如此动人，如此精准。凭借发声技巧与个性化的神奇结合，杰森将这首流行歌曲变成了他自己的风格。

Putting the first three voice technique elements together – The Breath, Support, and Resonance was important – but the way to get Jason “pitch perfect” was all in his Personalization. Jason found his person to whom he was singing in the pop song. His story became so clear, so emotional, so precise. With the magical combination of voice technique and Personalization, Jason made the pop song his own.

在为期两天的研讨会结束时，杰森的演唱音准达到了100%，让同学们都哭了。

At the end of the two-day workshop Jason sang 100% on pitch and made his classmates cry.

找到你生命中的人

FIND THE PERSON FROM YOUR OWN LIFE

您今天想见谁？

Who Would You Love to See Today?

现在，想想你今天最想见到的人。当这个人远在天边时，你会无比想念他们。他可能是你的祖母，失散多年的朋友，你一生挚爱的人，已故的亲人，甚至是斯汀。

Right now, think of a person who you would love to see today. When this person is far away, you miss them so much. It could be your grandmother, a long-lost friend, the love of your life, a dear one who has passed away, or even Sting.

2. 平行的情况

2. THE PARALLEL SITUATION

当你找到一首想唱的歌时，问问自己：我为什么选择这首歌？这首歌里是否有与你产生共鸣的某个信息？你记忆中哪些与这首歌的故事相似？它是否让你回忆起某个让你无比快乐、悲伤或苦恼的时刻？回想你生命中那个时刻的所有细节。你正在寻找“平行情境”——歌曲中与你的生活平行的情境或事件。

When you find a song you’d like to sing, ask yourself: why did I pick that particular song? Is there a certain message in the song that you can relate to? What do you remember from your own life that is similar to the story of the song? Did it recall a time you were unbelievably happy, or sad, or troubled? Think of all the details of that moment in your life. You are finding the Parallel Situation – the situation or event in the song that is parallel to your life.

这不仅能帮你找到合适的演唱对象，还能将词曲作者的经历和情感融入到你的个人处境中。听众会感受到你的真我。听众不会去想你本人或你的对应处境——相反，他们会想到他们生活中的这个人和那个处境，并会被你的表演所感动。

This will help you find both the right person to sing the song to and to take the songwriter’s experience and emotions of their event and personalize them to your situation. The audience will feel your truth. The listeners won’t be thinking of your person or your Parallel Situation – Instead, they will be thinking of the person and situation in their lives and will be moved by your performance.

寻找平行的情况

Finding the Parallel Situation

假声

Falsettos

我在北卡罗来纳州夏洛特话剧团的音乐剧《假声女高音》中饰演特丽娜。为了准备这个角色，我去表演课上唱了特丽娜的代表作《十一点钟》《坚守阵地》。

I had been cast as Trina in the musical Falsettos at the Charlotte Repertory Theater in North Carolina. Prepping for the role, I went to work in my acting class singing Trina’s big Eleven O’clock Number, “Holding to the Ground.”

我的角色特丽娜

My character, Trina

• 是犹太人
• was Jewish
• 曾与一名未出柜的同性恋男子结婚，后来他为了另一个男人离开了她
• had been married to a closeted gay man who left her for another man
• 有一个十三岁的孩子需要举行成人礼
• had a thirteen-year-old child who needed to have his Bar Mitzvah
• 而让这个现代家庭的所有成员都参与到成人礼的唯一方式就是在她前夫的伴侣因艾滋病而濒临死亡的医院里举行活动
• and the only way to include all of the members of this modern family in the Bar Mitzvah was to hold the event in the hospital where her ex-husband’s partner was dying from AIDS

歌曲中，Trina独自一人在医院的舞台上，爆发性地吐露了这段复杂故事中她内心的痛苦。她一遍又一遍地唱着歌词：

During the song, Trina is alone on stage in the hospital explosively revealing her private pain of this complicated story. She sings over and over the lyrics:

但这就是我的生活！生活从来都不是你所计划的，生活是你无法理解的时刻，但这就是我的生活！

But that’s my life!Life is never what you planned, Life is moments you can’t understand, But that’s my life!

我在课堂上大声唱着这首歌。我尽力运用“个性化”策略。我知道如何大声唱歌，而且我的声音也很棒——但没有人被我的表演所感动。我没有体会到角色毁灭性痛苦的真实感受。我怎么能找到一个平行的情境呢？我不是犹太人——我从未结过婚——我从未被一个男人抛弃——我没有孩子——我身边的亲人从未去世过。

I was in class belting out the song. I tried my hardest to use the Personalization. I knew how to sing loudly, and I had a fantastic sound – but nobody was moved by my performance. I wasn’t in the truth of my character’s devastating pain. How could I find a Parallel Situation? I’m not Jewish – I had never been married – I had never been left by a man for another man – I didn’t have a child – No one who was close to me had ever died.

然后，一个同学对我大喊大叫。

Then, a classmate screamed at me.

“你生活中那些乱七八糟的东西——都是你的财富！”他激动地捶着胸口。“这是你的人生！拥有它！”

“Those things in your life that are all fucked-up – those are YOUR goods!” He beat his chest with passion. “It’s YOUR life! Own that!”

我同学说得对。我确实知道特丽娜的生活复杂而颠倒——所以我回顾了自己的生活，看看是否有过让我感觉完全颠倒的时刻。我找到了。几周前，我已经在课堂上把这段记忆作为练习来探索过了。

My classmate was right. I did know that Trina’s life was complicated and upside down – so I looked back on my own life to see if there was ever a time that I felt completely upside down. I found it. I had already explored the memory as an exercise in class a few weeks before.

十三岁那年，我坐在儿时卧室的一扇大落地窗旁。我能看到车道上停着一辆U-Haul卡车。爸爸刚来取他的家具。离婚已经成了定局。我记得看着爸爸开着那辆U-Haul卡车驶出车道——把我和家人抛在了身后。

I was thirteen years old sitting in my childhood bedroom by a large picture window. I could see a U-Haul truck in our driveway. Dad had just arrived to pick up his furniture. The divorce was final. I remembered watching Daddy steer the U-Haul up and out of the driveway – leaving me and our family behind.

我突然明白了。正是这些难以言喻的可怕感受，成就了我——玛丽·塞特拉基安。我必须从灵魂深处讲述我的故事，才能理解特丽娜故事的真相。十三岁的玛丽的生活天翻地覆。但这就是我的生活。

Something clicked. Those horrible unspeakable feelings are the things that make me ME – Mary Setrakian. I had to tell MY story from the depths of my soul to connect to the real truth of Trina’s story. The life of thirteen-year-old Mary was upside down. But that was my life.

我凭借在《假声女高音》中饰演 Trina 一角荣获当地评论家颁发的最佳音乐剧女演员奖。

I won the local critics award as Best Actress in a Musical for my performance as Trina in Falsettos.

在我们继续进行的过程中，请反思你在个性化练习中遇到的人物。你也可以集思广益，想想生活中的不同事件，并将它们作为你的平行情境，与你最喜欢的歌曲联系起来（就像你在车里唱歌，没人听见的时候一样）。这是一个绝佳的机会，可以让你利用生活中的悲伤和艰难时刻，并将它们转化为艺术。

As we move forward, please ruminate on your person from the Personalization Exercise. You can also brainstorm about different events in your life that you could use as your Parallel Situations to connect to your favorite songs (just like you do when you sing in your car when nobody can hear you). This is a wonderful opportunity to use sad and difficult moments in your life and make art out of them.

我保证，当您将您的个性化与革命发送的情感生活方面的第二个元素即第四面墙联系起来时，您将在下一章中歌唱。

I promise you’ll SING in the next chapter as you connect your Personalization to the second element on the Emotional Life Side of The Revolutionary Send, the Fourth Wall.

组织自己...请勾选个性化。

Organize yourself… Please check off Personalization.

 

 

接下来是“第四面墙” 。当“第四面墙”与“个性化”相结合时，它就是在公众场合展现你内心脆弱的关键。我们一起来吧！

Next up – Fourth Wall. When combined with Personalization, the Fourth Wall is the key to sing with your intimate vulnerability in public. Let’s do this!

第五章

chapter five

---

第四面墙

FOURTH WALL

丹麦流行歌星TIM SCHŌU

Danish Pop Star TIM SCHŌU

办公空间

Office Space

丹麦流行歌手Tim Schōu在纽约录制新专辑时，找我上课，寻求一些建议。他来到我的录音室，我们聊了聊。我问Tim进展如何。他说他正在各地创作和演出，世界各地的制作人都对他的音乐很感​​兴趣。大佬们会叫他来开会，采访他，然后听他唱一两首原创歌曲——就在办公室里。

When Danish pop star Tim Schōu was recording his new album in New York, he sought me out for a lesson and some advice. He came to my studio, and we began with a chat. I asked Tim how things were going. He said he was writing and performing all over the place, and that producers worldwide were interested in his music. The bigwigs called him in for meetings where they’d interview him, and then hear him sing an original song or two – right in the office.

“进展如何？”

“And how is that going?”

“好问题。”

“Good question.”

“你总是能得到很好的回应吗？”

“Do you always get a good response?”

“有时候我会。有时候……我也不太确定。”

“Sometimes I do. Sometimes…I’m not really sure.”

我请蒂姆当场为我模拟“会议”。我扮演制作人，欢迎他来到我的办公室。然后我邀请他唱歌。蒂姆坐在吉他旁，一边弹奏着引子，一边看着地板。他似乎很激动，但我看不到他的脸。蒂姆开始唱歌。（哇，多么美妙的声音啊。）他的歌声中充满了强烈的情感，但蒂姆的眼睛在歌曲的大部分时间里都闭着。我看到他的脸颊渐渐红了，但我 什么也没感觉到。我只是观察着他。他结束了曲子。

I asked Tim to do a mock “meeting” for me right there. I played the producer and welcomed him to my office. Then I invited him to sing. Tim sat with his guitar, plucking at an introduction while looking at the floor. He seemed emotional, but I couldn’t see his face. Tim started singing. (Wow, what a gorgeous voice.) There was an intense emotion in his sound, but Tim’s eyes stayed closed for most of the song. I could see his cheeks getting all red, but I didn’t feel anything. I just observed him. He ended the tune.

“你拥有令人难以置信的深度，蒂姆，令人难以置信......但你隐藏了它。”

“You have an incredible depth, Tim, incredible…but you’re hiding it.”

“是的，我正在推迟这件事。”

“Yeah, I’m putting it off.”

我被蒂姆非凡的敏感度深深打动。对于一位艺术家来说，这简直是天赐之物，而蒂姆恰恰拥有。但那些明显的迹象——低头、闭上双眼——让我明白，蒂姆只是需要一点清晰的思路，知道如何分享他的脆弱，而不是“拖延”。蒂姆不得不冒险展现他的私密——这在任何情况下都是一项挑战，尤其是在一间冰冷的会议室里，荧光灯闪烁，音响效果糟糕，高管们离他只有两英尺远。除此之外，从与制作人的“见面问候”到一场充满情感的歌曲的激情演唱，真的非常艰难。需要真正的技巧才能理解如何做到这一点。

I was so taken by Tim’s extraordinary sensitivity. For an artist, that is something to pray for, and Tim had it. But the tell-tale signs – looking down, closing his eyes – made it clear to me that Tim just needed a little clarity as to how to share his vulnerability, and not “put it off.” Tim had to take the risk to expose his intimacy – a challenge on any day, but especially in a cold conference room with florescent lights, bad acoustics, and executives just two feet away. On top of all that, switching from a “meet and greet” with producers to an intense performance of an emotional song is really hard. It takes real tools to understand how to get there.

答案是：第四面墙。

The answer? The Fourth Wall.

蒂姆已经从自己的生活中选定了一个人来唱歌——他为一位特别的女士写了这首歌。但现在，他需要“第四面墙”来在冰冷的办公室里创造奇迹。

Tim had already chosen a person from his own life to sing to – he had written the song for a special lady. But now, he needed the Fourth Wall to create magic in the cold office space.

“见面会结束后，”我告诉蒂姆，“花点时间准备一下你的歌曲。想想你想唱给谁听。在你和坐在你面前的制作人之间，建一堵假想墙。在这堵“第四面墙”上找一个特定的点。在这样的会议中，把演唱者安排在高管们的正中间再合适不过了。这样，你就不会直视他们，这会让他们非常不舒服。相反，他们会看到你的眼睛（眼睛是心灵的窗户），并被你的故事吸引。看到你心仪的女士美丽的脸庞就在那堵墙上。你将与她共处，享受私密时光，不会让高管们感到尴尬或不自在。你将把房间从冰冷的办公室变成你自己的私密舞台。那些大人物就像墙上的苍蝇，分享你的情感体验。”

“After the ‘meet and greet,’” I told Tim, “take a moment to set-up your song. Think of the woman you want to sing to. Create an imaginary wall between you and the producers sitting in front of you. Find a specific point on that Fourth Wall. In a meeting like that, it’s perfect to put the person right between the heads of the executives. That way, you are not looking straight at them, which would make them extremely uncomfortable. Instead, they will see your eyes (the eyes are the window to the soul) and feel drawn into your story. See your lady’s beautiful face right there on that wall. You will cocoon yourself in your privacy with her, and not let the executives make you feel self-conscious or embarrassed. You will literally change the room from a cold office space to your own intimate stage. The bigwigs will be flies on the wall, sharing your emotional experience.”

课后，蒂姆又出发去世界各地旅行了。他通知我，他又要和制片人开会。这次的结果？成功了！他们录用了他。

After the lesson, Tim was off again to travel around the world. He notified me that he had yet another meeting with producers. The outcome this time? Success! They booked him.

第四面墙

FOURTH WALL

2. 情感生活方面

2. Emotional Life Side

第四面墙——专注与私下歌唱

FOURTH WALL – Focus & Singing Privately

目标：在你（歌手）和观众之间建立一道想象中的“第四面墙”。你需要在这面“第四面墙”上找到一个点，并将你的个人化表达放置在那里。当你私下演唱时，观众也能同时分享你在私密空间中营造的亲密感。

The Goal: To place the imaginary Fourth Wall between you the singer, and the audience. You will find a point on the Fourth Wall and place your Personalization there. As you sing privately to your person, the audience will, at the same time, be able to share the intimacy you have created in your privacy.

为什么这很重要：在淋浴间或车里唱歌（当没有人听的时候）是一回事。但是在舞台上唱歌，或在朋友的婚礼上唱歌，甚至在客厅里为家人唱歌，都可能非常可怕。你越是看着观众，你可能会变得越害羞、尴尬和紧张。第四面墙是一种工具，可以帮助你在唱歌时专注于歌曲的故事，并排除那些对评判的担忧。观众会从你的视野中消失，这样你就可以与自己独处。第四面墙帮助你“活出”你脆弱的故事，而不是试图让你的声音听起来“完美”。唱歌并不是为了声音的完美。唱歌是关于旅程的。

Why This Is Important: It is one thing to sing in the shower, or in a car when no one is listening. But singing on a stage, or at a friend’s wedding, or even for your family in the living room, can be downright scary. The more you look out at the audience, the more self-conscious, embarrassed, and nervous you might become. The Fourth Wall is a tool that will help you to focus on the story of your song and shut out those worries of judgment while you sing. The audience will fade away from your view so that you can be private with your person. The Fourth Wall helps you to “live” your vulnerable story rather than trying to make your voice sound “perfect.” Singing a song is not about vocal perfection. Singing a song is about the journey.

需要改变的是：唱歌时，你不再闭上眼睛，也不再漫无目的地环顾房间，而是要利用“第四面墙”，将自己“茧”在“个性化”之中。你的听众会像墙上的苍蝇一样，窥视你的私人世界，被你讲述的私密故事深深打动。

What Has To Change: Instead of closing your eyes or aimlessly looking around the room as you sing, now you are going to use the Fourth Wall to “cocoon” yourself in your Personalization. Your audience will be like a fly on the wall, peering into your private world where they will be deeply moved by the intimate story you are telling.

什么是第四面墙？

WHAT IS THE FOURTH WALL?

“第四面墙”这个词源于舞台表演。当你站在舞台上面向观众时，你身后有一堵墙，两边各有一面墙（也就是三面墙），然后还有第四面墙——你和观众之间那堵想象中的墙。

The term Fourth Wall comes from stage acting. When you are standing on a stage looking out toward the audience, you have the wall behind you, the two wings to each side (which are the three walls), and then you have the Fourth Wall – the imaginary wall between you and the audience.

第四面墙是表演者和观众之间的假想墙。

The Fourth Wall is the imaginary wall between the performer and the audience.

如何使用第四面墙

HOW TO USE THE FOURTH WALL

使其私有化

Making It Private

无论你在哪里表演，无论是在百老汇的舞台上，还是在自家的客厅里，你都面临着想象中的“第四面墙”。选择一个特定的中心点来锚定你的“第四面墙”。在剧院里，它可能是出口标志——在户外摇滚音乐会上，也许是远处的一棵树——在家庭聚会上，也许是你父母身后墙上的一幅画。在试镜中，在桌子旁的选角导演的头之间找到一个点（就像蒂姆在他的故事中做的那样），然后将你的“个人化”放在这个点上。（稍后，我们会在你的“第四面墙”上添加其他点——左右两侧——但现在，你只 需要找到并利用这个中心点。）

Wherever you are performing, be it on a Broadway stage or in your family’s living room, you are facing the imaginary Fourth Wall. Pick a specific central point to anchor your Fourth Wall. In the theater, it might be an exit sign – at an outdoor rock concert, maybe a tree in the distance – at the family party, perhaps a painting on the wall behind your parents. In an audition, find a point between the heads of the casting directors at the table (like Tim did in his story), then place your Personalization on that point. (Later on, we will add other points on your Fourth Wall – right and left – but for now, you are only working on finding and using the central point.)

请不要选择太高、太低或偏斜的拍摄点——也不要闭上眼睛。俗话说，眼睛是心灵的窗户，观众需要看到你的眼睛才能理解你的故事。

Please don’t pick a point that’s too high, too low, or off to the side – and be sure not to close your eyes. The eyes are the window to your soul, as the adage goes, and the audience needs to see your eyes in order to enter into your intimate story.

眼睛有它

The Eyes Have It

我知道，我知道……当你闭上眼睛唱歌时，你会感受到如此深沉的情感。你感受到爱！你感受到痛苦！你聆听着脑海中自己的声音，它听起来很棒。好吧，事实是这样的：当你闭上眼睛时，也许你会感受到一些深刻而动人的情感，但观众看到的是一位自我放纵的表演者在聆听他们自己的声音。当你分析自己的音色，感受痛苦的深度时，你的声音可能在你的脑海中听起来很棒 ，但在观众席中，我们却感觉被排除在你闭上眼睛后所享受的旅程之外。睁开你的眼睛，“看见”你的人，发出你的声音，让每个人都感受到你的情感与自由音调的联系……不仅仅是你自己。

I know, I know…when you close your eyes while you’re singing you feel so much deep emotion. You feel the love! You feel the pain! You listen to your voice in your head and it sounds great. Well, here’s the truth: When you close your eyes, perhaps you feel something deep and emotional, but the audience observes a self-indulgent performer listening to their own voice. Your voice may sound great in your head as you analyze your timbre and check the depth of your pain, but out in the audience we feel left out of the journey you’re enjoying behind your shut eyes. Open your eyes, “see” your person, send your voice, and let everybody experience the connection of your emotions and free tone…not just you.

打破第四面墙

Breaking The Fourth Wall

有些歌曲需要直接对着观众演唱。这样你就是在打破所谓的“第四面墙”。在歌舞表演中，我通常会从剧院后部（观众入场的地方）进入舞台，一边走向舞台，一边直接对着观众演唱。让观众真正融入演出，这本身就是一个有趣的惊喜。

Some songs call for singing directly to the audience. In this way you are doing what’s called breaking the Fourth Wall. In a cabaret setting, I’ve been known to enter the stage from the back of the house (where the audience enters), singing directly to the crowd as I make my way to the stage. It’s a fun surprise to literally make my audience a part of the show.

作为表演者，即使直接与观众聊天或唱歌，我们也会感到紧张。打破“第四面墙”时，一个有趣的个性化方法是“在观众席中安排一个人”，让他觉得你是超级巨星——一个认为你拥有一切的人。你很风趣！你很美！你太棒了！观众席中这位特别人物的积极特质会给你额外的勇气，让你能够直视观众的眼睛，迎接他们的到来。这些陌生人会成为你的新朋友，让你把他们牢牢地掌握在手中。

As performers, we can certainly get nervous even chatting or singing directly to audience members. A fun Personalization when breaking the Fourth Wall is to “put a person in the audience” who thinks you are a superstar – somebody who thinks you have it all. You’re funny! You’re gorgeous! You’re magnificent! The positive essence of that special person in your audience will give you a little extra courage to welcome your patrons and look ‘em in the eye. Those strangers will become your newfound friends, and you’ll have them in the palm of your hand.

但更多的时候，你必须像独自一人站在舞台上一样唱歌，让观众窥视你的私人世界。

But more often than not, you must sing a song as if you are alone on stage with the audience peering into your private world.

李的情人

Lee’s Lover

如果你的个性化是在观众

If Your Personalization is in the Audience

你可能会想——如果你用来作为你个性化的人就在观众席中（而你唱歌时就像和那个人单独在一起一样），你应该直接对他们唱歌吗？这就是我的学生李在百老汇外的歌唱表演中所做的。因为李的新男友就在观众席中，所以他没有按照我的第四面墙方向唱歌。让我告诉你，李的歌声总是那么神奇，这一次也不例外，他唱了一首马文·盖伊的情歌。太棒了！李直视着第六排的爱人，唱完了整首歌——只对他唱。演出结束时，一位年轻女子热泪盈眶地跑到李面前。“你的声音太棒了！太不可思议了！但我希望你给我唱歌！你为什么不给我唱歌？！”当我听到这位年轻女士的恳求时，我暗自轻笑，低声说道——第四面墙。如果李把他爱人的形象放在他想象中的第四面墙的中心点，并在那里对他唱歌，而不是直接对着观众唱歌，那么观众中的每个人（包括他的爱人和年轻女子）都会觉得李只是在对他们唱歌。

You might wonder – if the person you are using as your Personalization is in the audience (and you’re singing a song as if you are alone with that person), should you sing directly to them? That’s what my student Lee did at a Singing Showcase off-Broadway. Because Lee’s new boyfriend was in the audience, he went rogue from my Fourth Wall direction. Let me tell you, Lee’s vocals are always off-the-charts magical, and this time was no different as he sang a Marvin Gaye love ballad. Gorgeous! Lee looked directly at his lover in the sixth row and sang the entire song – only to him. At the end of the show, a young woman came running up to Lee with tears in her eyes. “Your voice is incredible! So incredible! But I wanted you to sing to ME! Why didn’t you sing to MEEEEE?!” As I overheard the young lady’s plea, I chuckled to myself and whispered under my breath – Fourth Wall. If Lee had put the image of his lover on the center point of his imaginary Fourth Wall and had sung to him there, rather than directly to him in the audience, everybody in the audience (including his lover and the young woman) would have felt like Lee was singing only to them.

在发声练习中添加个性化和第四面墙

ADDING PERSONALIZATION AND FOURTH WALL TO THE VOCAL EXERCISES

现在，您在“第四面墙”上设置了个性化，让我们开始发声练习，并将我们迄今为止所做的发声技巧元素联系起来：呼吸、支持和共鸣。

Now with your Personalization set-up on your Fourth Wall, let’s go to our vocal exercises and connect the voice technique elements we’ve done so far: The Breath, Support, and Resonance.

我们的发声技巧就像多米诺骨牌效应——我们必须正确地将前两个要素，即呼吸和支持，连接起来，否则后面的其他要素都不会成功——所以让我们快速回顾一下。

Our voice technique is rather like a Domino Effect – we must have the first two elements, The Breath and Support hooked up correctly, or none of the other elements that follow will be successful – so let’s do a quick review.

我最喜欢的将呼吸和支持联系起来的练习是您从支持章节中了解到的——“Ssssss”练习。

My favorite exercise to hook up The Breath and Support is one you know from the Support chapter – the “Ssssss” Exercise.

现在，呼吸和支持已经连接并准备就绪，让我们使用舌颤音和唇颤音练习作为共鸣 ，将它们与个性化和第四面墙连接起来。

Now with The Breath and Support hooked up and ready to go, let’s connect them with Personalization and Fourth Wall using the Tongue Trill and Lip Trill Exercises as the Resonance.

断奏练习

STACCATO EXERCISE

[mi ' me ' ma ' mo ' mu]

[mi ‘ me ‘ ma ‘ mo ‘ mu]

现在，让我们把所有相同的元素组合起来，就像你唱断奏练习一样。选择一个接近你说话声音的音高。（图中我标注的是中央C。如果你觉得它太高或太低，只需将音高调整到接近你自然说话声音、让你感觉舒适的水平即可。）

Now let’s put all the same elements together as you sing the Staccato Exercise. Choose a pitch that is around your speaking voice. (In the illustration I’ve noted middle C. If it’s too high or too low for you, just change the pitch to where it’s comfortable for you around your natural speaking voice.)

提醒：对于女性和儿童来说，钢琴上的中央C音调与您的声音音高相同。对于男性来说，您的声音自然会低八度。为了方便理解，我将这个音调称为中央C。

Reminder: For women and children, the middle C on the piano is the same pitch as your voice. For men, your voice will naturally sound an octave lower. For our purposes, I will call this note middle C for all.

现在让我们做同样的练习，但不是用断奏短音符并在每个音节之间呼吸，而是做连奏练习。

Now let’s do the same exercise, but instead of staccato short notes with a breath in between each syllable, you will do the Legato Exercise.

连奏练习

LEGATO EXERCISE

意大利语中的“Legato”意为“连在一起”——从音乐上来说，你会连续唱出所有相同的音节，但尽可能流畅地将它们一口气唱完。[mi – me – ma – mo – mu]

“Legato” in Italian means “tied together” – so musically you will sing all of the same syllables in a row but connecting them as smoothly as possible one to the next, all in one breath. [mi – me – ma – mo – mu]

生日快乐

HAPPY BIRTHDAY

现在你已经准备好唱一首歌来亲自尝试这个概念——“生日快乐”。你可能想知道，为什么玛丽为这些练习介绍这么简单的歌曲？对我来说，你已经知道“生日快乐”非常有帮助。这让我们可以专注于技巧。此外，接下来，我们将把所有剩余的革命性发送 元素，包括技术和情感，都连接到同一首歌中。然后——剧透警告！——在我们十大要素的最后一章中，我们将讨论标志性版本“ 总统先生，生日快乐”，由 20 世纪 60 年代的性感偶像玛丽莲梦露演唱。你将能够像玛丽莲一样磨练 你的 标志性版本。所以，请继续关注，我们将“生日快乐”与你的第四面墙联系起来。

Now you’re ready to sing a song to try out the concept for yourself – “Happy Birthday.” You may be wondering, why is Mary introducing such a simple song for these exercises? For me, it’s so helpful that you already know “Happy Birthday.” That allows us to focus solely on technique. Plus, moving forward, we’re going to connect all of the remaining Revolutionary Send elements, both technical and emotional, to the same song. And then – SPOILER ALERT! – in the final chapter of our ten elements, we’ll visit the iconic version, Happy Birthday Mr. President, sung by the 1960’s sex symbol, Marilyn Monroe. You’ll get to hone your iconic version a la Marilyn. So, stay with me here as we connect “Happy Birthday” to your Fourth Wall.

生日快乐——锻炼

HAPPY BIRTHDAY – EXERCISE

你要为远方的人唱出《生日快乐》的第一句歌词。你非常想念他们，今天是他们的生日。第一句歌词如下：

You are going to sing just the first line of “Happy Birthday” to your person who is far away from you. You miss them so much, and it’s their birthday. Here is the first line:

祝你生日快乐， （吸气）祝你生日快乐

Happy birthday to you, (inhale) Happy birthday to you

唱《生日快乐歌》时，要用你说话声音的自然音高。不要试图唱得更高，也不要试图唱得更低——只需从你说话声音的自然音高开始唱即可。对我们大多数人来说，这个音高接近中央C，所以以下是围绕中央C写的音符。

You will sing “Happy Birthday” around the natural pitch of your speaking voice. Don’t try to sing higher, and don’t try to sing lower – just easy from around the same pitch where your speaking voice lives. For most of us, that’s near middle C, so here are the notes written around middle C.

 

 

再次，让我们运用你迄今为止学到的工具，为你今天想见的人唱歌。这些工具是：呼吸、支持和共鸣，连接你的个性化和第四面墙。

Once again, let’s use the tools you’ve learned so far to SING to the person who you’d love to see today. Those tools are: The Breath, Support, and Resonance connecting to your Personalization and Fourth Wall.

 

 

你刚刚将呼吸、支持和共鸣与你的个性化和第四面墙连接起来！这是将这些元素结合在一起的第一步。干得好！

You just connected The Breath, Support, and Resonance with your Personalization and Fourth Wall! This is the first step towards using these elements all together. Great work!

组织好自己...请勾选“第四面墙”。

Organize yourself… Please check off Fourth Wall.

 

 

个性化和第四面墙都准备好了，让我们回过头来完成声音技巧方面的最后两个要素——楼层和金字塔。这两个要素与你的共鸣共同作用，帮助你找到真正的音域，轻松唱出高音。我们先深入了解一下楼层是什么，然后再把它们和金字塔结合起来。准备好了吗？开始吧！

With Personalization and the Fourth Wall ready to go, let’s head back to finish up the last two elements on the Voice Technique Side – Floors and Pyramid. These two elements work together with your Resonance to find your true range and hit the high notes with ease. Let’s first take a deep dive into what the Floors are and then put it all together with the Pyramid. Ready? Here we go!

第六章

chapter six

---

地板

FLOORS

詹姆斯·甘多菲尼

JAMES GANDOLFINI

我得告诉你……每次离开这里，我都会感觉好很多

I’ve got to tell you…I always feel so much better when I leave here

“詹姆斯！你刚才唱的高音G就像詹姆斯·布朗唱的一样。太棒了！”“很高兴你这么认为。”

“James! You just sang a high G like James Brown. That was fantastic!” “I’m glad you think so.”

已故《黑道家族》巨星詹姆斯·甘多菲尼每周来我的录音室三次，因为他正在为在约翰·特托罗执导的电影《浪漫与香烟》中首次亮相的演唱角色做准备。实际上，他原本不应该在电影中唱歌——只需要对口型，模仿布鲁斯·斯普林斯汀、恩格尔伯特·汉普丁克和詹姆斯·布朗等人的歌声。无论如何，詹姆斯想唱歌。我们必须让詹姆斯的声音在整个音域——无论是低音还是高音——都产生美妙的共鸣。詹姆斯已经准备好迎接“楼层”了。

The late great Sopranos star, James Gandolfini, came to my studio three times a week as he was preparing for his singing-debut role in John Turturro’s film, Romance & Cigarettes. Actually, he wasn’t supposed to sing in the movie – only lip sync to the likes of Bruce Springsteen, Engelbert Humperdinck, and James Brown. In any case, James wanted to sing. We had to get James’ voice to resonate beautifully throughout his entire range – both the low notes and the high notes. James was ready for the Floors.

低音可能具有欺骗性。它们听起来很容易。但当詹姆斯用他“轻松”的低音区唱歌时，他的声音会移到鼻腔里，他的音调听起来很像鼻音。我指导詹姆斯感受“前通道”最底层——嘴巴周围的振动。当詹姆斯感受到嘴唇上的振动，并将振动扩大到脸颊而不是推到鼻子上方时，他的声音突然恢复了原样——饱满、充满活力、平衡、轻松。不再有鼻音。

Low notes can be deceiving. They seem like they’ll be easy. But when James sang in his “easy” low range, his voice moved into his nose, and his tones sounded nasal. I instructed James to feel the vibration on the lowest floor of the Front Passage – around his mouth. When James felt the vibration on his lips and widened the vibration into his cheeks instead of pushing it higher into his nose, suddenly his voice was his own – rich, vibrant, balanced, easy. No more nasality.

但詹姆斯也得唱高音。我教他唱到最后一个音符时，在额头周围找到更高的高度。詹姆斯大声唱道：“孤独就是一个男人——没有爱！”他简直不敢相信自己唱出了这些音符。他从不夸赞自己，但我肯定夸赞了！“就是它！”

But James had to sing high notes too. I instructed him to find a higher floor around his forehead when he sang the last note of his song. James belted it out, Lonely is a man – withooooout looooooove! He couldn’t even believe he was hitting those notes. He never complimented himself, but I sure did! “That’s it!”

第一次公开唱歌真让人害怕。跟我合作了几周后，詹姆斯每次都敢于冒险，唱出他音域里最深的“Floor”（地板音）——而且他做得非常完美。

It’s scary to sing publicly for the first time. After working with me for several weeks, James took the risk to sing through the Floors of his range every time – and he did it perfectly.

我们课程的最后一天，詹姆斯坐在我的沙发上沉思：“我得告诉你……每次离开这里，我感觉都好多了。” 他准备好了。导演约翰·特托罗决定在电影里用詹姆斯的声音，而不是仅仅跟着原声带对口型。他真的太棒了。

The last day of our lessons, James sat on my couch reflecting, “I’ve got to tell you…I always feel so much better when I leave here.” He was ready. Director John Turturro decided to use James’ voice in the movie instead of just lip-syncing along with the soundtrack. He was that good.

地板

FLOORS

4. 语音技巧方面

4. Voice Technique Side

地板 – 您的选择

FLOORS – Your Range

目标：为了发现你的音域，你需要将Floors融入到你的发声技巧中。

The Goal: To discover your range, you will integrate the Floors into your voice technique.

为什么这很重要：要唱出从低音到高音的全音域，不仅仅是靠灵感。有一种技巧可以运用歌唱的物理原理。在我的方法中，共振、地板和金字塔是工具。你已经了解了共振。 学习地板是这方面的下一步。（然后是金字塔。）

Why This Is Important: To sing in your full range from low notes to high notes is not just about being inspired. There is a technique that applies the physics of singing. In my method, Resonance, Floors, and Pyramid are the tools. You already know about Resonance. Learning about the Floors is the next step to this information. (Then comes Pyramid.)

需要改变的是：现在，你需要将“地板”的意象叠加到“前声道共振”之上。当你唱高低起伏时，“地板”将成为你的 指引。

What Has To Change: You will now layer the image of the Floors on top of your Front Passage Resonance. The Floors will be your guide as you sing up and down the scale.

“关于扩大你的射程，你学到了什么或者听说过什么？”

“What have you been taught or heard about increasing your range?”

这是我问新学员的下一个问题。以下是一些学员的回答。

That’s the next question I ask first time students. Here are some of their responses.

容易混淆的短语——地板：

CONFUSING PHRASES – FLOORS:

1. “听听你升高音阶时的音调”

1. “Listen to the pitches as you go up the scale”

2.“像打哈欠一样唱歌”

2. “Sing as if you are yawning”

3. “唱低音时要压低声音”

3. “Push your voice down for low notes”

4.“强化你的声带”

4. “Strengthen your vocal cords”

我们将在本章末尾重新讨论这些容易混淆的短语。首先，我们来了解一下“楼层”（Floor），以及如何发现自己真正的音域。

We will revisit these Confusing Phrases at the end of the chapter. First, let’s learn about the Floors and how to discover your true vocal range.

当我们考虑上下移动音阶的任务时，让我们暂时回忆一下第三章共振中的本垒主导共振器——前通道。

As we contemplate the task of going up and down the scale, let’s remember for a moment the Home Base dominant resonator from Chapter Three on Resonance – The Front Passage.

前线通道

THE FRONT PASSAGE

提醒：前声道是指面部从上唇到耳朵前方垂直向上的区域。头部的这个“声道”就像钢琴的共鸣板。前声道容纳着你声音的共鸣器或“扬声器”。前声道中的骨骼和软骨包围着气穴。这些气穴会根据骨骼和软骨的形状振动，从而产生共鸣，发出你声音的标志性声音。

Reminder: The Front Passage is the area in your face located from your upper lip and in front of your ears going straight up. This “passage” in your head is like the sounding board in a piano. The Front Passage houses the resonators or “speakers” of your voice. The bones and cartilage in the Front Passage surround cavities of air. These air pockets vibrate against the shape of your bones and cartilage, resonating the signature sound of your voice.

 

 

现在，我们将地板的图像叠加到前通道之上。

Now, we layer on top of the Front Passage the image of the FLOORS.

当你沿着音阶上下唱歌时，你的声音就会沿着前通道的地板上下移动。

As you sing up and down the scale, you’ll be guiding your voice up and down the FLOORS of the Front Passage.

提升规模——提升前通道的地板

Up the Scale – Up the FLOORS of the Front Passage

提高音阶非常简单：就像钢琴家引导他们的手指在钢琴键盘上向上弹奏，或者小提琴家和吉他手引导他们的手指在乐器的琴颈上向上弹奏以弹奏更高的音符一样——当你唱出提高音阶的声音时，你将会引导你的声音沿着前通道的地板向上弹奏。

It is quite simple to go up the scale: Just as a pianist guides their fingers up the keyboard of a piano, or a violinist and guitarist guide their fingers up the neck of their instruments for the higher notes – as you sing up the scale, you are going to guide your voice up the Floors of your Front Passage.

前厅与五线谱

THE FRONT PASSAGE WITH THE MUSICAL STAFF

在下图中，您可以看到与表面相邻的高音谱号谱表上的音符。

In the illustration below, you can see the notes on the treble clef staff adjacent to the face.

 

 

对于男声来说，请记住，你的声音自然会比乐谱上的音符低一个八度。从现在开始，为了我们的目的，我将在所有练习中使用高音谱号，但会在高音谱号下方标出数字8（在方框中突出显示），表示男声的声音自然会比乐谱上的音符低一个八度。

For the men, remember that your voice will naturally sound an octave lower than the written notes. From now on and for our purposes, I will use the treble clef for all exercises, but indicate with the number 8 below the treble clef (highlighted in the box) that the men’s voices will naturally sound one octave below of what is written in the music.

最低层——嘴巴周围、中央 C 及以下

THE LOWEST FLOOR – Around Your Mouth, Middle C and Below

嘴巴是前声部的最底层。你已经知道，中央C和说话的声音会围绕着你的嘴部。即使是低于中央C的音，你也会想到嘴巴的最底层。唱那些低音时，不要用力往下压。保持嘴部振动的感觉。

The mouth is the lowest floor of the Front Passage. You already know to expect middle C and your speaking voice to live around your mouth. Even for the notes that go below middle C, you will think of the lowest floor at your mouth. Don’t push down to sing those lower notes. Keep the sensation of vibration at your mouth.

规模更大，楼层更高

UP THE SCALE – UP THE FLOORS

你可以在上图中看到，随着音阶的升高，五线谱上的每个音符在前通道中的位置都会更高。例如，E 音位于上唇附近，G 音位于脸颊附近，而中央 C 以上的 C 音位于眼睛附近。

You can see in the illustration above that as you go up the scale, each note on the staff lives on a higher floor in the Front Passage. For example, the note E lives around the upper lip, the note G lives around the cheek area, and the C above middle C lives around the eyes.

你可能会想，非常高的声音或非常低的声音也符合这个例子吗？简而言之，答案是“是的，差不多”。相信你的声音会在我给你的楼层“附近”的某个地方响起。它会对你很有帮助！

You might wonder, would an extremely high voice or an extremely low voice also fit this example? The short answer is “yes, it’s close enough.” Trust that your voice will ring somewhere “around” the floors I give you. It will serve you well!

在地板上滑行练习

SLIDING EXERCISES UP AND DOWN THE FLOORS

滑动嗡嗡声练习——“嗯嗯”

Sliding Hum Exercise – “Hmmmmm”

让我们先从说“嗯”开始熟悉地板——在前通道的地板上滑上滑下。

Let’s start with saying “Hmmmmm” to get acquainted with the Floors – Sliding Up and Down the Floors of the Front Passage.

 

 

在上图中，我展示了如何将你的声音上下滑动一个八度——从中央C到高音C。一个八度音程是两个音高之间8个音的距离。想想《绿野仙踪》那首著名歌曲《彩虹之上》中的第一个词“Somewhere” 。

In the picture above, I’ve indicated sliding your voice up and down an octave interval – from middle C to the C above. An octave interval is the distance of 8-tones between two pitches. Think of the first word “Somewhere” from that famous song from The Wizard of Oz: “Over the Rainbow”

现在给自己唱一首：

Sing it to yourself now:

在彩虹之上的某处……

Somewhere over the rainbow…

“某处”=八度音程

“Some – where” = an octave interval

现在，你将在“Hmmmmm”练习中，将你的声音从中央C滑到高八度C。和之前一样，你不必唱出精确的C音高——你可以选择你音域内任何你觉得舒服的八度跳跃。注意，当你在“Hmmmmm”练习中上下滑动你的声音时，你将引导[m]的振动（像哼唱一样）沿着你的前通道地板，从你的嘴巴向上到你的眼睛周围，然后再向下。

Now you’ll be sliding your voice on the “Hmmmmm” Exercise from middle C to the octave C above. Like before, you don’t have to sing the exact C pitches – You can choose whatever octave leap is comfortable for you in your range. Be aware that as you slide your voice up and down the octave interval on “Hmmmmm,” you’ll be guiding the [m] vibration (like humming) straight up and down the Floors of your Front Passage from your mouth up to around your eyes, and back down.

滑舌颤音练习——“ Drrrrr ”

Sliding Tongue Trill Exercise – “Drrrrr”

让我们通过舌颤练习来熟悉Floors。

Let’s use the Tongue Trill Exercise to get acquainted with Floors.

唇颤音练习——“ Brrrrr ”

Sliding Lip Trill Exercise – “Brrrrr”

现在让我们做同样的练习，但使用唇部颤音！

Now let’s do the same exercise but with the Lip Trill!

 

 

措辞陷阱——“生日”

Diction Trap – “Birthday”

在我们冒险唱出这个八度音程之前，我们首先必须看一下“生日”这个词的发音陷阱，这个陷阱让很多歌手措手不及——唱一个美国 [r]！

Before we venture ahead singing this octave interval, we first must look at a diction trap for the word “birthday” that has caught many a singer off guard – Singing an American [r]!

唱“生日”这个词，尤其是在高音部分，可能会造成很大困扰，所以让我们马上弄清楚！低音部分受影响不大，因为它们在我们说话的声音附近，更容易唱。但同样的规则也适用于它们，所以我们开始吧！

Singing the word “birthday,” especially on a higher note, can cause havoc, so let’s get this clear right away! The lower notes don’t suffer as much since they are around our speaking voice, which is easier to sing, but the same rule applies to them, so here we go!

如何唱美式“R”音

HOW TO SING AN AMERICAN “R”

唱“生日”的[r]

Singing the [r] of “Birthday”

即使英语是你的母语，唱美式 [r] 音也有一个重要的规则，无论你演唱的是古典、爵士、流行、摇滚还是百老汇等风格。你看，美式 [r] 音的“rrrrrr”发音很刺耳，我指的不是像我们在舌颤音“Drrrrr”中那样把“r”卷起来。如果你唱这个辅音，这个音可能会卡在你的喉咙里。像“妈妈”、“爸爸”、“兄弟”、“火鸡”、“生日”这样的词，还有……“tarrier”。

Singing an American [r], even when English is your native language, has an important rule no matter what style you’re singing in – classical, jazz, pop, rock, Broadway. You see, the American [r] has a harsh “rrrrrr” sound, and I don’t mean rolling your “r” like we’ve been doing on the Tongue Trills, “Drrrrr.” If you sing on this consonant, the sound can get stuck in your throat. Words like “mother,” “father,” “brother,” “turkey,” “birthday,” and… “tarrier.”

钻探，你们的塔里尔钻探

Drill Ye Tarriers Drill

高中高级乐队改组为合唱团

High School Advanced Band Becomes a Choir

起初，我回避了公立高中的音乐剧系。那一定是我“乖乖女”式的反叛方式。我不想完全按照父亲的期望——像他希望的那样成为一名职业歌手——走上这条路。所以，我坚持学习长笛。（这会让他明白的！ ——是的，没错。）我从九岁开始上私人长笛课，后来升级到一位很棒的老师，梅里尔·乔丹。（我九岁时去乔丹先生那里试镜，他坚持要我先学三年钢琴，然后才能跟他学。我照做了。）梅里尔·乔丹是旧金山交响乐团的首席长笛演奏家。对我来说，更重要的是，他是一位天才的老师。乔丹先生是我第一位重要的古典音乐大师，他帮助我成为了一名真正的音乐家。

At first, I shunned the musical theater department in my public high school. That must’ve been my “good girl” way to rebel. I didn’t want to follow the exact path my father wanted for me – to be a professional singer like he had wished to be. So, instead, I kept up with studying the flute. (That’ll show him! – Yeah, right.) I had started private flute lessons when I was nine and had since upgraded to an amazing teacher, Merrill Jordan. (When I auditioned for Mr. Jordan at nine years old, he insisted that I take three years of piano lessons before I could study with him. I did it.) Merrill Jordan was the First Chair Flutist with the San Francisco Symphony. More importantly for my benefit he was a gifted teacher. Mr. Jordan was my first important classical master who helped me become a real musician.

我在长笛课上的努力得到了回报。高一的第一个学期，我参加了高级乐队长笛组的试奏，并获得了首席演奏员的职位，这让高年级的同学们很不高兴。

My hard work in those flute lessons paid off. My first semester as a high school freshman, to the chagrin of the upper-classmen, I auditioned and landed the position of First Chair in the Advanced Band flute section.

我很高兴能加入这支由大约四十名来自不同背景的男女组成的乐队，但我们都属于音乐。后来，在一次乐队练习中，我年轻的音乐生涯轨迹发生了改变：所有合唱团和音乐剧制作的负责人JD Nichols来看望我们。我们的乐队指挥把指挥棒交给了Nichols先生，并递给我们乐谱——一首名为《Drill Ye Tarriers Drill》的古老美国爱尔兰民歌。Nichols先生说，整个高级乐队现在必须以四声部合唱的形式演唱——唱歌能让我们成为更好的音乐家。直到今天，我仍然能唱出那首歌的副歌：Drill ye tarriers drill, oh drown ye tarriers drown!（而且是八度跳跃！）

I was happy to be a part of that band of misfits, about forty guys and gals from both sides of the tracks – but together, we all belonged to music. Then, one band practice, the trajectory of my young musical life was changed: The head of all of the choirs and musical theatre productions, JD Nichols, paid us a visit. Our band leader passed his baton to Mr. Nichols as we were handed sheet music – an old American Irish folk song called Drill Ye Tarriers Drill. Mr. Nichols said that the entire Advanced Band had to now sing as a choir in four-part harmony – that singing would make us better musicians. To this day, I can still sing the hook of that song: Drill ye tarriers drill, oh drill ye tarriers drill! (And it’s an octave leap!)

 

 

合唱真是太有趣了！但让我大吃一惊的是，尼科尔斯先生竟然让我们每个人都把“tarriers”这个词的发音念出来。我简直不敢相信自己的耳朵！他说我们根本就不能发[r]！我们可以先发“tarriers”的第一个“t” ，然后只发元音，直到最后一个“s” ，发音像[z]。

Singing as a choir was so much fun! But what blew my mind was how Mr. Nichols made us all pronounce the word tarriers. I couldn’t believe my ears! He said that we were not to say [r] – at all! We could say the first [t] of tarriers – then just the vowels until the final “s” of tarriers that sounds like [z].

ta – ɍɍ i – e ɍ z

ta – ɍɍ i – e ɍ z

在 IPA（国际音标）中，它的拼写如下：

In the IPA (international Phonetic Alphabet) it is spelled like this:

tarriers = [tæ – i – ə z]

tarriers = [tæ – i – ə z]

tarriers中“er”的 IPA 符号是倒置的“e”。[ə]被称为“shwa”。shwa是一个中性元音，在英语中不重读，就像sofa中的词尾元音，以及 circus 中的“ir”和“u”元音一样。我喜欢用夸张的英式口音来形容“mother”和“father”——[r] 完全不发，只发 shwa [ə]。在我们的作品中，当你夸张英式口音时，也要夸张地张开嘴，嘴唇像垂直撅起一样，像发 [ə] 而不是“er”一样。试试看：

The IPA symbol for the “er” in tarriers is an upside-down “e.” [ə] is called a “shwa.” The shwa is a neutral vowel that’s unstressed in English like the ending vowel in sofa and the “ir” and “u” vowels in circus. I like to think of an overexaggerated British accent saying “mother” and “father” – Don’t pronounce the [r] at all. Only a shwa [ə]. For our work, as you exaggerate a British accent, also exaggerate opening your mouth with your lips in a kind of vertical pucker as you say [ə] instead of “er.” Give it a try:

母亲 = 蛾[ə]

mother = moth[ə]

父亲 = fat[ə]

father = fath[ə]

兄弟 = 肉汤[ə]

brother = broth[ə]

火鸡 = t[ə]key

turkey = t[ə]key

现在说 tarriers：

Now say tarriers:

ta – [ i ] – [ə] z

ta – [ i ]– [ə] z

如果这对您来说更容易，请考虑像这样发音 tarriers：

If it’s easier for you, think of pronouncing tarriers like this:

ta – ɍɍ i – e ɍ z

ta – ɍɍ i – e ɍ z

我为什么要告诉你这些？

Why am i telling you all this?

我讲这个有趣的故事（希望它有趣！）是为了告诉你如何在我们版本的“生日快乐歌”中唱出“生日”这个词。不要用[r]！（在其他歌曲和风格中，偶尔用一点[r]也是合适的——但这里不行。我们会在第二部分讲到。）

I’m telling you this fun story (I hope it’s fun!) to let you know about how to sing the word birthday in our version of “Happy Birthday.” NO [r]! (There are times in other songs and styles where a smidge of [r] is appropriate – but not here. We’ll cover that in Part II.)

生日的 IPA 拼写：

IPA spelling for birthday:

[b ə θ 的ɪ ]

[b ə θ deɪ]

为了方便起见，我们可以这样发音：

To make it easy, let’s think of pronouncing the phrase like this:

生日快乐！

Happy b [ə] thday!

不[r]，撅起嘴唇[ə]

No [r], and pucker your lips on [ə]

跟我一起说：

Say it with me:

生日快乐！

Happy bəthday!

bəthday的发音总是在高音八度跳跃时进行。对于“Happy birthday to you”中那些围绕着你的嘴型和说话声音的低音，一定要确保不要用力发 [r] 音。不是Happy birrrthday。低音更接近我们的说话声音，因此在发 [r] 音时不会像高音那样遇到发音问题。无论如何，“er”的 shwa [ə]是一个新规则，你可以把它运用到你的所有歌曲中。

This pronunciation of bəthday will always be executed on the high note octave leap. For the lower notes of Happy birthday to you that live around your mouth and speaking voice, just be sure not to hit the [r] hard. NOT Happy birrrthday. The lower notes being closer to our speaking voice don’t have the same vocal issues in pronouncing the [r] as the higher notes. In any case, the shwa [ə] for “er” is a new rule you can take with you on all of your songs.

当然，每条规则都有例外。但这条“不要唱[r]”的规则，对你所有的歌曲都有用。

There are of course exceptions to every rule. But this rule to NOT sing the [r] is one that will help you in all of your songs.

 

 

 

 

 

 

你刚刚把我们目前为止做的所有元素都串联起来了：呼吸、支撑、共鸣、个性化、第四面墙和地板。太棒了！

You just connected all the elements we’ve done so far: The Breath, Support, Resonance, Personalization, Fourth Wall, and Floors. Excellent work!

容易混淆的短语——地板

CONFUSING PHRASES – FLOORS

让我们重新回顾本章开头的那些令人困惑的短语，并弄清楚它们。

Let’s revisit the Confusing Phrases from the beginning of the chapter and get them clear.

“关于扩大你的射程，你学到了什么或者听说过什么？”

“What have you been taught or heard about increasing your range?”

容易混淆的短语——地板：

CONFUSING PHRASES – FLOORS:

1. “听听你升高音阶时的音调”

1. “Listen to the pitches as you go up the scale”

2.“像打哈欠一样唱歌”

2. “Sing as if you are yawning”

3. “唱低音时要压低声音”

3. “Push your voice down for low notes”

4.“强化你的声带”

4. “Strengthen your vocal cords”

让我们逐一检查一下：

Let’s examine each one:

1. “随着音阶的升高，听听音调。” 我亲身尝试过这样做。我的意思是，没人告诉我要这么做——但在我看来，这似乎是个让我的声音在歌剧试镜中达到完美状态的好方法。其实不然。

1. “Listen to the pitches as you go up the scale.” I have first-hand experience from trying to do this. I mean, nobody told me to do it – but it seemed to me like a good way to make my voice perfect for an opera audition. Not so much.

在斯坦福大学时，我参加了我的第一部歌剧的试镜，这是普契尼的《詹尼·斯基基》，我扮演洛丽塔的角色，她演唱著名的咏叹调“我的宝贝，爱我！”（到处都是八度跳跃！）。尽管我正在自学，并且是精英大学合唱团 Chorale（只有两名女高音）的成员，但对于二十岁的我来说，在歌剧方面我感觉自己像个初学者。我的技巧当然还不是大师。（我还没有学过 Floors。）我很担心我的高音，尤其是在我紧张的时候。著名指挥家兼小提琴家安多尔·托特是我们斯坦福大学音乐系的新教授。他负责新的歌剧课程，所以我的试镜完全是为了他。托特教授从来没有听过我唱歌，所以我真的想给他留下深刻的印象。我决定把重点放在《我的宝贝，爱你》这首曲子上我的音准上，以确保我的声音完美无缺。试唱结束后，托特教授给了我反馈：大师说我的音准不太好。“音准”这个词的意思是，我的歌声不准——整个咏叹调中，我的高音和低音时高时低。安多尔·托特的批评一直萦绕在我的脑海里。我为此感到非常沮丧。我决定“解决”这个问题，继续听我的声音，确保我的音准，而不是音准问题。第二天，我要参加合唱团排练。排练结束后，我们团的优秀指挥威廉·拉姆齐博士来找我。他是这样说的：

When I was at Stanford University, I was auditioning for my first opera, Puccini’s Gianni Schicchi, to play the role of Loretta who sings the famous aria, O mio babbino caro. (Octave leaps everywhere!) Even though I was studying privately and was a member of the elite university choir, Chorale (only two sopranos), at twenty-years-old I felt like a beginner when it came to opera. I certainly wasn’t a master of my technique. (I hadn’t been taught about the Floors yet.) I worried about my high notes, especially when I was nervous. A famous conductor and violinist, Andor Toth, was our brand-new professor in the music department at Stanford. He oversaw the new opera program, so my audition was solely for him. Professor Toth had never heard me sing, so I really wanted to impress him. I decided to focus on my pitches up and down the scale of O mio babbino caro to make sure my voice was perfect. After my audition, Professor Toth gave me my feedback: The maestro said that I was pitchy. The term pitchy means that my singing wasn’t in tune – it waivered both sharp and flat throughout the entire aria. Andor Toth’s critique stayed with me. I felt pretty low about it. I decided to “fix” the problem and to keep listening to my voice to make sure I was in tune and NOT pitchy. The next day I had a Chorale rehearsal. My wonderful conductor of the group, Dr. William Ramsey, came up to me after rehearsal. This is what he said:

玛丽，我知道昨天试镜的时候，安多·托特说你音准跑偏了。玛丽，我跟你合作这么多年，从来没听过你音准跑偏。但是今天排练的时候，你第一次真的——音准跑偏了。玛丽，你的音准真棒！你的音准一点问题都没有！拜托……别再提这事了！

“Mary, I understand that at your audition yesterday Andor Toth told you that you were out of pitch. Mary, in all the years I’ve worked with you, I’ve never heard you out of pitch. But, today at rehearsal, for the first time, you were in fact – pitchy. Mary, you have great pitch! You don’t have any problems with pitch! Please…forget about it!”

我确实忘了这件事。而且我的音准也再也没有问题了。我在歌剧里被选为洛蕾塔的替补。在为期三周的演出中，我出演过一次。演出结束后，我收到了反馈：安多尔·托特真希望他当初把这个角色给我。

I did forget about it. And I didn’t have any problems with pitch again. I was cast as the understudy to Loretta in the opera. I went on once during the three-week run. After my performance, I was given my feedback: Andor Toth wished that he had given me the part.

这个故事的寓意是：唱歌时不要听自己的声音。这会给你的音准带来问题。

The moral of the story: Don’t listen to your voice while singing. It will give you pitch problems.

2. “像打哈欠一样唱歌。” 这条命令让我很困惑。我们唱歌时，希望喉咙保持自然状态。试图通过打哈欠来扩大喉咙空间，只会在还没开始唱歌之前就给你的喉咙增加压力。千万别这么做。

2. “Sing as if you are yawning.” This command baffles me. When we sing, we want the throat to be in its natural state. Trying to create a bigger space in your throat by yawning just adds tension to your instrument before you even begin. Please, don’t do it.

3. “唱低音时，声音要低沉。” 有时候，当你想“唱低音时，声音要低沉”，模仿一些有趣的角色声音时，可能会出现这种情况。或者，为了让最简单的低音也能产生美妙的共鸣，想想你的最低音位于最低层——嘴巴周围。你会惊讶地发现，唱最低音竟然变得如此轻松。

3. “Push your voice down for low notes.” There may be a time for a funny character sound when you’d like to “push your voice down for the low notes.” Otherwise, to have the easiest low notes that resonate beautifully, think of your lowest notes living on the lowest Floor – around your mouth. You’ll be shocked how much easier it is to sing your lowest notes.

4. “强化你的声带。” 声带确实是肌肉。我们经常在健身房锻炼肌肉——手臂、腿部、腹肌。但心脏也是肌肉，虽然锻炼对它有益，但你不会刻意去强化它。心脏是不随意肌，它跳动自如，无需你思考。声带也会在无需你直接思考的情况下运动。物理学中的量子理论认为，当你观察一个分子时，它会改变该分子的状态。我们不想通过观察来改变声带的自然状态。我们希望声带能够自由地自然地工作，无需任何额外的努力。如果你试图通过想象让声带在喉咙中变得更强壮来“强化”声带，你的喉咙会感到紧张，唱歌也会受到影响。 （写到这里，我甚至还在想着如何加强喉咙里的声带，突然感觉喉咙哽咽了！）相反，为了拥有更强的发声耐力和更宽的音域，你应该专注于将呼吸和支撑与乐器底部的共鸣联系起来。这样你就能感受到声音的自由，并且能够连续唱几个小时而不会感到疲劳！

4. “Strengthen your vocal cords.” It’s true that the vocal cords are muscles. We often think of strengthening our muscles at the gym – your arms, your legs, your abs. But the heart is also a muscle, and although it benefits from exersice, you wouldn’t deliberately focus on strengthening it. The heart is an involuntary muscle and beats freely without you thinking about it. The vocal cords also move without your direct thought. In physics, quantum theory says that when you observe a molecule, it changes the state of that molecule. We don’t want to observe and thus change the natural state of our vocal cords. We want the cords to be free to do their job naturally without any extraneous effort. If you try to “strengthen” your vocal cords by thinking about making them stronger in your throat, you’ll feel tension in your throat and your singing will suffer. (Even thinking about trying to strengthen my vocal cords in my throat right now as I write this, I suddenly have a lump in my throat!) Instead, to have more vocal stamina and more vocal range, your focus should be on connecting The Breath and Support to the Resonance on the Floors of your instrument. You’ll feel vocal freedom and you’ll be able to sing for hours on end without fatigue!

整理一下自己...请勾选楼层。

Organize yourself… Please check off Floors.

 

 

现在到了我们发声技巧的最后一个环节——金字塔。将地板的意象叠加在前通道共振之上，是探索音域的第一步。现在，将金字塔的意象叠加在前通道的地板 之上，将是让你的高音飞扬的终极一步！

It’s time for the final element on our Voice Technique Side, Pyramid. Layering the image of the Floors on top of the Front Passage Resonance was the first step to discovering your range. Now layering the image of the Pyramid on top of the Floors of the Front Passage will be the ultimate step for your high notes to soar!

第七章

chapter seven

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金字塔

PYRAMID

妮可·基德曼

NICOLE KIDMAN

你认为我真的会唱歌吗？

Do you think I can really sing?

十一月一个寒风凛冽的下午，我漫步在中央公园西街，寻找斯汀的公寓。楼上的门牌号一个接一个地往下数。终于，两扇巨大的玻璃门映入眼帘，门牌号正与我汗湿的手里那张皱巴巴的纸上的潦草字迹相符。我推开门的金属把手，一阵风吹来，玻璃砰地一声被吹碎，我踉踉跄跄地走进了大厅。一位英俊却严肃的门卫坐在一张船形的木桌后面，就像他游艇的船长一样。我看着被风吹得咯咯笑，他朝我投去一丝嘲讽的目光。

I was walking down Central Park West on a blustery November afternoon looking for Sting’s apartment. The numbers on the buildings were descending by two. Finally, two large glass doors with a number that matched the scribbles on the crumpled paper in my sweaty hand came into view. As I pushed the metal knob of the door, a gust of wind slammed the glass and I stumbled into the lobby. A handsome but very serious looking doorman sat behind a boat-sized wooden desk like the captain of his yacht. He threw a snide glance my way as I giggled at my wind-blown self.

“我能帮您什么忙吗？”他简短地问道。

“May I help you?” he curtly asked.

“费利西亚，求你了，”我尽可能漫不经心地说道。

“Felicia, please,” I tossed off as casually as I could.

“等一下。”

“Just a minute.”

我们俩都用“费利西亚”这个名字分享一个暗号，看起来酷得像两个保卫总统的特勤局特工。门卫打电话到楼上，指着走廊尽头。“二楼。”我笑了笑，穿着新买的秋靴，走在长长的大理石走廊上，努力不让自己显得紧张。电梯门开了。我走了进去，按下按钮——二楼。

We were both sharing a secret code in the name “Felicia,” and we looked as cool as two Secret Service agents protecting the President. The doorman phoned upstairs and pointed down the hall. “Second floor.” I smiled, trying not to look nervous as I walked the long marble hallway in my new autumn boots. The elevator doors opened. I entered and pushed the button – second floor.

我乘了短短的电梯上去，电梯门再次打开。电梯里，虽然没有门厅之类的，却展现出一幅令人叹为观止的景象：华丽的木梁、当代艺术，以及宽敞的空间，摆放着许多舒适的沙发和枕头。费利西亚迎接了我。

I took the short ride up, and the elevator doors opened again. Right there, with-out a foyer or anything, was a breathtaking sight: gorgeous wooden beams, contemporary art, and spacious areas with lots of inviting couches and comfy pillows. Felicia greeted me.

“你好，”她说，“这边过来。我带你去钢琴那儿。你要去那里工作，对吧？”

“Hi there,” she said. “Come this way. I guess I’ll take you to the piano. That’s where you’re going to work, right?”

“是的，钢琴是最完美的地方。”

“Yes, the piano is the perfect place.”

费利西亚领我到更宽敞的客厅里的大钢琴旁，让我独自一人静静地待着。房间里一片寂静，但我很高兴坐在斯汀的钢琴凳上，想象着他用这把键盘创作《金色田野》或者《万物皆可知》的场景。

Felicia guided me to the grand piano in the even grander living room and left me alone in the stillness. The room was silent, but I was happy to sit on Sting’s piano bench, imagining him creating Fields of Gold or maybe Every Little Thing on this very keyboard.

这时，仿佛一阵暖风吹来，房间里的气氛顿时一变。一个高挑的金发身影从拐角处出现。她穿着光滑的黑色跑步裤和白色背心，看起来很高兴见到我。

Then, as if a warm breeze entered, the energy of the room changed. A tall, blonde figure appeared from around the corner. Dressed in sleek, black running pants and a white tank top, she looked happy to meet me.

“嗨，我是妮可。抱歉我迟到了——我刚跑步回来。我很紧张，因为这是我的第一堂声乐课。”

“Hi. I’m Nicole. Sorry I’m late – I just got back from my run. I’m nervous because this is my first voice lesson ever.”

妮可·基德曼主演的百老汇首部剧作《蓝色房间》广受好评。她和家人现在成了纽约客，暂时把斯汀的家当成了家。

Nicole Kidman was starring in her Broadway debut, The Blue Room and garnering rave reviews. She and her family were now part-time New Yorkers, calling Sting’s place home for the time being.

“这么说，你马上就要试镜了。”我说。跟她说话很轻松。她眼神温暖而真诚。

“So, you have an audition coming up,” I said. It was easy to talk to her. Her eyes were so warm and honest.

“是的！为了巴兹·鲁尔曼。我们是朋友。他新拍了一部电影叫《红磨坊》，他觉得我很适合，但他想知道我唱歌好不好。你觉得我会唱歌吗？”

“Yes! For Baz Luhrmann. We’re friends. He has a new movie called Moulin Rouge and he thinks I’m right for it, but he wants to know if I can really sing. You think I can really sing?”

我知道妮可的意思。她担心的是自己的嗓音。光是听妮可说话，我就知道她拥有美妙嗓音的天赋。而且，妮可本身就拥有非凡的天赋——她精湛的演技。将妮可真实的歌喉与精湛的演技相结合，将是她自信地为巴兹·鲁尔曼“真正歌唱”的关键。

I knew what Nicole meant. She was worried about the sound of her voice. Just hearing Nicole speak, I knew she had the gift of a beautiful sound. And, Nicole already had something special – her craft as an actress was superb. Connecting Nicole’s true singing voice with her exquisite acting would be the key for her confidence to “really sing” for Baz Luhrmann.

现在我的工作是教妮可练习发声技巧，让她的声音在整个音域内都能自由发挥。我们从我方法中发声技巧方面的前三个要素开始：呼吸、支撑和共鸣。幸运的是，这三个要素对妮可来说很容易掌握：

It was now my job to give Nicole voice technique, so her voice was free in her entire range. We began with the first three elements on the Voice Technique Side of my method: The Breath, Support, and Resonance. Fortunately, these three elements were easy for Nicole:

1. 呼吸：为了在表演中完全掌控自己的情绪，身体运转时的呼吸至关重要——妮可就掌握了这一点。

1. The Breath: To have complete access to her emotions for acting, breathing as the body works was essential – Nicole had it.

2. 支撑：将肚脐带入体内以提供支撑也是很自然的，但是现在，妮可已经学习了作为“歌手”为整个音域提供支撑的精确科学，她可以依赖它了。

2. Support: Bringing the bellybutton IN for her Support was also natural, though now, learning the exact science of Support for her entire range as a “singer,” Nicole could depend on it.

3. 共鸣：妮可的澳大利亚口音是一种天赋——她的共鸣已经在她的前通道共鸣器中向前振动——不用担心声音嘶哑。

3. Resonance: Nicole’s Australian accent was a gift – her Resonance was already vibrating forward in her Front Passage resonators – no vocal fry to worry about.

有了这三个要素，妮可就可以开始攀登了。我给了她一些技术指导：

With those first three elements in place, Nicole was ready to head up the scale. I gave her my technical instructions:

“以金字塔的形状为引导，唱出《前厅的地板》。想象你唱得越高，每个音符的振动幅度就越小。”我引导妮可唱出更高的音阶。她的歌声高亢激昂。她不仅征服了令人羡慕的高音C，而且还继续唱下去！“妮可！你唱到高音E了！”

“Sing up the Floors of the Front Passage using the shape of a Pyramid as your guide. Think of the size of the vibration of each note getting smaller and smaller as you sing higher and higher.” I led Nicole up the scale. Her voice was soaring. She not only conquered the enviable high C, but she kept going! “Nicole! You just hit a high E!”

“这样好吗？”

“Is that good?”

“这不仅好，简直太棒了！你的音域真广。你最好开始炫耀一下！”

“That’s not only good, it’s exceptional! What a range you have. You’d better start bragging about it!”

我们花了两个月准备妮可的试镜材料。这一天终于来了！她参加了巴兹·鲁尔曼的试镜。妮可后来打电话告诉我试镜情况。你知道吗，她进门时巴兹说的第一句话就是：“我听说你能唱高音E！”高音当然不是唱歌唯一重要的部分，但有时它们能帮你拿到这份工作。

We worked for two months on Nicole’s audition material. The day finally arrived! She had her audition for Baz Luhrmann. Nicole called me later to tell me how it went. Wouldn’t you know, the first thing Baz said when she walked in the door was, “I hear you can hit a high E!” High notes certainly aren’t the only important part of singing, but sometimes they can help clinch the job.

妮可的问题萦绕在我的脑海里。“你觉得我真的会唱歌吗？”

Nicole’s question hovered in my head. “You think I can really sing?”

“是的，妮可，我觉得你真的很会唱歌。”

“Yup Nicole, I think you can really sing.”

妮可·基德曼饰演莎婷一角。她凭借在《红磨坊》中的出色表演获得奥斯卡提名，并荣获金球奖。

Nicole Kidman was cast in the role of Satine. She was nominated for an Oscar and won a Golden Globe award for her performance in Moulin Rouge.

金字塔

PYRAMID

5. 语音技巧方面

5. Voice Technique Side

金字塔——高音的物理学

PYRAMID – The Physics of High Notes

目标：应用高音的物理原理，以便您可以毫不费力地唱出音域内的最高音。

The Goal: To apply the physics of high notes so that you can hit the highest notes in your range effortlessly.

为什么这很重要：让我们面对现实吧，高音令人印象深刻。

Why This Is Important: Let’s face it, high notes are impressive.

需要改变的是：要唱高音，你必须了解高音的物理原理。你已经了解了共振和楼层。 现在，你将在楼层之上再添加一层——金字塔的形象。 随着你在前通道楼层上唱得越来越高，你会注意到每个音符的振动幅度通过金字塔的形状变得越来越小。因为这种方法受物理学的约束，你的高音将变得毫不费力。

What Has To Change: To sing high notes, you must understand the physics of high notes. You already know about Resonance and Floors. Now you’ll add yet another layer on top of the Floors – the image of a Pyramid. As you sing higher and higher up the Floors of the Front Passage, you will be aware that the size of the vibration of each note gets smaller and smaller through the shape of a Pyramid. Because this method is bound by physics, your high notes will become effortless.

“关于如何唱高音，你学过什么或者听说过什么？”

“What have you been taught or heard about how to sing high notes?”

这是我在新学生的第一堂声乐课上问的下一个问题。以下是他们的一些回答。

That’s the next question I ask my new students during their first voice lesson. Here are some of their responses.

令人困惑的短语——金字塔：

CONFUSING PHRASES – PYRAMID:

1.“抬起你的软腭”

1. “Lift your soft palate”

2.“保持喉部低位”

2. “Keep your larynx low”

3.“把喉咙张大一点”

3. “Open your throat wider”

4.“抬起你的额头”

4. “Lift your forehead”

5.“利用位置——就像放置你的声音一样”

5. “Use Placement – as in to place your voice”

我们将在本章末尾重新回顾这些容易混淆的短语。首先，我们来学习一下金字塔，以及如何轻松唱出高音。

We will revisit these Confusing Phrases at the end of the chapter. First, let’s learn about the Pyramid and how to sing high notes effortlessly.

这是包含大量信息且内容非常丰富的一章——所以，系好安全带吧！

This is a very intense chapter with tons of information – so, buckle up!

高音的物理学

THE PHYSICS OF HIGH NOTES

让我们科学地看一下您的发声器官：

Let’s take a scientific look at your vocal instrument:

1. 声带：当你的声音静止或说话时，声带处于其自然的大小和状态。当你唱低音时，声带会变得更短、更粗，振动也更慢。然后，当你唱高音时，声带会变长、变薄，振动也更快。

1. The Vocal Cords: When your voice is at rest or when you’re speaking, the vocal cords are in their natural size and state. As you sing down the scale, the vocal cords become shorter, thicker, and vibrate more slowly. Then, as you sing up the scale, the vocal cords elongate, stretching thinner, and they vibrate more quickly.

2. 尺寸很重要：物理学告诉我们，腔体尺寸越小，音调就越高。我们希望利用这项科学来帮助我们演奏高音。

2. Size Matters: Physics tells us that as the size of a cavity gets smaller, the pitch gets higher. We want to use that science to help us nail high notes.

为了更好地理解腔体大小和音高，我们来做个“瓶子测试”。这里有两个可乐瓶。左边的瓶子里可乐较多，空间较小。右边的瓶子里可乐较少，空间较大。如果你对着每个瓶子吹气（就像吹笛子一样），哪个瓶子的音高更高？

To understand the size of the cavity and pitch better, let’s do “the bottle check.” Here are two cola bottles. The bottle on the left has more cola in it and less space. The bottle on the right has less cola and more space. If you blow into each bottle (like blowing into a flute), which one will have the higher pitch?

如果你说左边的瓶子音调更高，那你就对了！瓶子里的空间越小，音调就越高。

If you said that the bottle on the left will have the higher pitch, you’re correct! The smaller the space in the bottle, the higher the note.

那么，问题是，作为一名歌手，你该如何处理这些信息？你该如何运用高音的物理原理来唱高音呢？

So, the question is, as a singer, what do you do with this information? How do you apply the physics of high notes to sing high notes?

1. 更多支撑：由于声带在高音时会伸长、变薄、振动更快，因此作为歌手，您需要更多的支撑来维持更快的振动。

1. More Support: Because the vocal cords elongate, stretch thinner, and vibrate faster for the high notes, as the singer, you need even more Support activated to sustain the quicker vibration.

方法如下：您已经知道如何利用两个球相互旋转的能量来摆动肚脐来获得支撑- 现在，随着您向上移动的幅度越来越大，想象两个球以越来越快的速度相互旋转，您将获得更多的支撑。

Here’s how: You already know how to swing the bellybutton IN with the energy of two balls spinning around each other for your Support – Now, you’ll add more Support by thinking of the two balls zipping around each other faster and faster as you go UP the scale higher and higher.

2. 尺寸很重要：我们从科学中得知（还记得“瓶子检查”吗），随着空气腔变小，音高自然会升高。作为歌手，我们不想把注意力放在腔体的结构上。（量子理论告诉我们，如果我们观察一个分子，它会改变分子的状态。）相反，当你唱高音时，要注意随着你唱得越来越高，每个音符的振动也越来越快。同时，由于高音时腔体变小，所以当你唱高音时，振动的幅度会感觉更小。为了更容易地适应这一点，想象一下唱高音前通道共振的楼层，形状像一个金字塔。

2. Size Matters: We know from science (remember “the bottle check”) that the pitch naturally gets higher as the air cavity gets smaller. As singers, we don’t want to put our attention on the structure of the cavity. (Quantum theory tells us if we observe a molecule, it changes the state of the molecule.) Instead, as you sing UP the scale, be aware of the vibration of each note spinning faster and faster as you sing higher and higher. At the same time, because the cavity becomes smaller for higher notes, the size of the vibration will feel smaller as you sing up the scale. To accommodate this easily, think of singing up the Floors of the Front Passage Resonance in the shape of a Pyramid.

欢迎来到金字塔

Welcome to the PYRAMID

正如您在上图中看到的，地板的图像层叠在前通道共振之上，而金字塔的图像又层叠在地板之上。

As you can see in the picture above, the image of the Floors is layered on top of the Front Passage Resonance, and the image of the Pyramid is layered on top of the Floors.

通过金字塔形状在楼层间歌唱就像吉他手引导手指向上移动吉他的音品。对于吉他手来说，高音所需的较小空间已经通过手指的位置被激活：琴弦越短，振动频率越高，音符就越高。 有趣的是，作为歌手，我们拥有比吉他更优质的乐器：当我们唱高音时，我们的音腔会变小——但吉他的音腔保持不变。也许这就是为什么在原声吉他上，最高音听起来会很尖锐：吉他的空心琴身有助于低音产生共鸣，但由于高音时音腔不会变小，因此高音中激活的泛音就没那么多。作为歌手，我们不用手指唱歌。相反，我们在精神上引导声音通过金字塔形状在“前通道”的楼层间歌唱。有了这种想法，我们“前通道”的音腔就会自行调整。只需预期/想象/意识到高音的空间变小即可。这就足够了。因为我们整合了高音的物理原理，所以高音变得毫不费力。

Singing up the Floors through the shape of a Pyramid is like a guitarist guiding their fingers up the frets of their guitar. For the guitarist, the smaller space for the higher notes is already activated just by the position of their fingers: The shorter the length of the string, the higher the rate of vibration, and the higher the note. It’s fun to point out that as singers, we have a higher quality instrument than a guitar: Our cavity gets smaller as we sing higher notes – but the guitar’s cavity remains the same. Maybe that’s why on the acoustic guitar the highest notes can sound tinny: The hollow body of the guitar helps low notes resonate, but because the cavity doesn’t become smaller for the higher notes, there aren’t as many overtones activated for those high pitches. As singers, we don’t use our fingers to sing. Instead, we mentally guide the voice up the Floors of the Front Passage through the shape of the Pyramid. With this thought, the cavity in our Front Passage will adjust on its own. Simply expect/imagine/be aware that the space for the higher notes becomes smaller. That’s enough. Because we are integrating the physics of high notes, the high notes become effortless.

唇颤音练习

THE LIP TRILL EXERCISE

在过去的章节中，你已经完成了舌颤音和唇颤音练习。现在我们将专注于唇颤音练习。（如果你更喜欢舌颤音练习，你可以随时将舌颤音运用到唇颤音练习中。）

In the past chapters, you have done both the Tongue Trill and Lip Trill Exercises. We are now going to concentrate only on the Lip Trill Exercise. (If you prefer the Tongue Trill Exercise, you can always apply the Tongue Trill to the Lip Trill Exercises any time you like.)

我为什么喜欢唇颤音练习：

Why I love the lip trill exercise:

• 这是对你的声音和身体的快速热身——你是一名歌唱运动员
• It’s a quick warm-up for both your voice and your body – you are a singing athlete
• 即使你没有正确地练习，你也不会伤害你的声音——你正在用训练轮唱歌
• Even if you don’t do the exercise correctly, you won’t hurt your voice – you’re singing with training wheels
• 如果你所在的地方可能会打扰到别人，那么这项练习可以单独进行
• If you’re in a place where others might be bothered by sound, this exercise can be done discretely
• 无论你能唱出什么高音，只要练习，你就能唱出
• Whatever high note you can Lip Trill, you will be able to sing with practice

西蒙娜

Simone

作为埃尔顿·约翰百老汇音乐剧《阿依达》几位主要演员的声乐教练，我曾与担任主角的西蒙妮（妮娜·西蒙妮的女儿）合作。西蒙妮非常喜欢唇颤音练习。由于她每周要演唱多达八场，所以她的声音不需要在每场演出前进行大量的热身。俗话说：“别把你的声音留在练习室里。”有一天，西蒙妮在练习开始前对我说：“玛丽，我练了几个唇颤音，然后就上台了！”我当时激动不已！西蒙妮明白，这个简单的练习能让她受益匪浅。

As the vocal coach to some of the leading players in Elton John’s Broadway musical, Aida, I worked with Simone (Nina Simone’s daughter) who took over the title role. Simone loved the Lip Trill Exercise. Because she was singing up to eight shows a week, her voice was not in need of a big warm-up before each show. As the old adage goes, “don’t leave your voice in the practice room.” One day, Simone turned to me before our work session and said, “Mary, I do a couple of Lip Trills and then walk out on stage!” I was thrilled! Simone understood that she could get a big payoff with this simple exercise.

我们经历它，而不是绕过它

We Go Through It, Not Around It

朱莉娅·罗伯茨

Julia Roberts

我曾听过奥斯卡影后朱莉娅·罗伯茨说过，她最喜欢的一句话是“我们要经历它，而不是绕过它”。我很喜欢这句关于人生的建议。在通往目标的路上，经历这段旅程能带来宝贵的教训。这句至理名言也对唇颤练习很有帮助。

I once heard Oscar Award–winning actress Julia Roberts say that her favorite quote is “we go through it, not around it.” I love this advice for living life. Experiencing the journey on the way to your goal brings the valuable lessons. This sage advice is also helpful for the Lip Trill Exercise.

我经常听到学生在唇颤练习中跳过中音，只瞄准高音。他们的自我意识在说：“如果我能达到高音，我的任务就完成了。目标达成了。” 其实，这并非重点。

So often I hear students skip around the middle notes in the Lip Trill Exercise and only aim for the high note. The ego mind is saying, “If I can reach the high note, I’ve done my job. The goal is accomplished.” Actually, that’s not the point.

专注于目标固然很好，但你对目标的定义必须改变。高音或许是你乐器的重要组成部分，但每一个精彩的音符才是让高音变得特别的奖励。（默念这段话。这很重要。）

It’s great to have your eye on the prize, but your definition of the prize must change. High notes may be an important part of your instrument, but every note well lived is the prize that makes the high note special. (Repeat this paragraph to yourself. It’s important.)

当你用颤音嘴唇上下滑动音阶时，记住，你必须经历前通道每一层的每个音符的振动。不要跳过任何音符，也不要跳过任何楼层。享受金字塔上下的旅程吧。

As you slide your trilling lips up and down the scale, remember, you must go through the vibration of every note on every Floor of the Front Passage. Don’t skip any notes, and don’t skip any Floors. Enjoy the journey up and down the Pyramid.

再试试快速唇颤音吧！一定要完全按照它来，而不是绕着它。

Feel free to try the QUICK LIP TRILL again! Make sure you go through it, not around it.

成功是一段旅程，而不是目的地——阿瑟·阿什

Success is a journey, not a destination – Arthur Ashe

声乐类别

VOCAL CATEGORIES

您的范围

Your Range

为了找出你音域内最高的音，我们接下来会做一个双八度唇颤音练习。不过首先，我们先来聊聊一个热门话题：你的声乐类别。

To find out what the highest notes are in your range, we’ll be singing next a Two-Octave Lip Trill Exercise. But first, let’s cover a popular topic: your vocal category.

我发现很多人对自己的确切声音类别过于执着。了解基本类别或许有帮助，但请不要被自己声音的标签所淹没。如果你在探索各种可能性之前就确定了自己的音域，你可能会限制自己发挥真正的潜力。记住，你是独一无二的！

I have found that many people are obsessed about their exact vocal category. It may be helpful knowing the basic category, but please, don’t get overwhelmed with the label of your voice. If you decide what your vocal range is before exploring the possibilities, you may be cutting yourself short of your true potential. Remember, you are one-of-a-kind!

以下是一般的分类。除非另有说明，否则它们适用于所有歌唱类型和风格：

Here are the general categories. Except where noted, they are meant for every genre and style of singing:

如果你的声音天生就很高：

If you have a naturally high voice:

• 妇女和儿童声乐类别是女高音
• The vocal category for women and children is soprano
• 男声部声乐类别为男高音
• The vocal category for men is tenor
• 如果你天生嗓音高，通过唇颤练习，你可能会唱到高音 C 两个八度（甚至更高）
• If you have a naturally high voice, you’ll probably be singing two octaves up to high C (and beyond) with the Lip Trill Exercise

如果你的声音较低：

If your voice is lower:

• 女子和儿童的声乐类别是女低音；女性的声乐类别是女中音； 或者在某些风格中，女性的声乐类别是高音。
• The vocal category for women and children is alto; for women is mezzo soprano; or in certain styles for women is belter
• 男声的声乐类别是男中音
• The vocal category for men is baritone
• 如果你的声音较低，高音 G、高音 A 或高音 B b可能是你唇颤音练习中音域最高的音符
• If you have a lower voice, high G, high A, or high Bb could be the highest notes in your range with the Lip Trill Exercise

最低的声音更为罕见：

The lowest voices are more rare:

• 女声的声乐类别是女低音
• The vocal category for women is contralto
• 男声的声乐类别是男低音
• The vocal category for men is bass
• 对于这些低音，高音 G 可能是你唇颤音练习的最高音域
• For these lower voices, high G could be the top of your range with the Lip Trill Exercise

如果你不知道自己的音域，别担心！试试看！如果你知道自己的声部类别，那就做好准备吧。你可能会惊讶地发现，你甚至能唱出比我列出的更高的音符。这就是金字塔的魔力！

If you don’t know your range, don’t worry! Just give it a try! And if you do know your vocal category, get ready. You might surprise yourself with even higher notes than I listed. That’s what the Pyramid can do!

当你继续练习唇颤音时，要注意调整肚脐在整个音域内摆动的压力：当你从嘴周围的最低音开始时，想象假想的球以长而缓慢的压力相互旋转 - 然后当你爬过金字塔的楼层时加速 - 以小叮当的闪电速度一直到阁楼。

As you keep practicing the Lip Trill, be aware of adjusting the pressure of your bellybutton swinging IN throughout your entire range: As you start with the lowest notes around your mouth, think of the imaginary balls spinning around each other with a long and slow pressure – then speeding up as you climb the Floors through the Pyramid – all the way up to the Attic with the lightning speed of Tinker Bell.

唱出高音

HITTING THE HIGH NOTES

高音与低音

High Notes vs. Low Notes

现在是时候运用你学到的关于唇颤音金字塔上下移动的所有知识，并运用它们来唱高音了。但首先，要注意！别忘了低音！

Now it’s time to use all the information you’ve learned about Lip Trilling UP and DOWN the Pyramid and apply it to hitting your high notes. But first, beware! Don’t forget the low notes!

高音嫉妒

High Note Envy

犹大

Judee

我遇到我的学生朱迪时，她拥有一副温暖动听的女中音嗓音。作为一名成功的作曲家，她为自己的嗓音创作歌曲，但从未挑战过高音。朱迪决定认真探索她的高音，以扩大她的音域和曲目范围——而且她确实做到了。随着她的高音越来越高，我让她的发声练习音阶越来越高。但后来，当我把音阶调低时，我突然听到每个低音都变得越来越薄，越来越弱——不再是她女中音优美饱满的音色。这是怎么回事？

When I met my student Judee, she had a lovely warm mezzo soprano voice. As a successful composer, she wrote songs for her voice, but never challenged herself with high notes. Judee decided to seriously explore her high notes to expand her range and repertoire – and she had them. I’d take her vocal exercises up and up the scale as her high notes soared. But then, coming back down the scale, I suddenly heard each lower note become thinner and weaker – not the beautiful rich timber of her mezzo soprano. What was happening?

然后我想到：高音羡慕！

Then it came to me: HIGH NOTE ENVY!

Judee 太专注于高音，以至于她不知不觉地把每个音符都唱得像高音一样——在金字塔狭小空间的高楼层。她没有利用金字塔更宽阔的音阶来唱低楼层的低音。结果呢？Judee 的高音飙升，但低音却显得单薄无力。在我的指导下，Judee 调整了低音，使其更贴合金字塔更饱满的空间，回归到她浑厚的女中音。现在，她的音域宽广，嗓音从高到低都优美动听。再也不用羡慕高音了！

Judee was so committed to those high notes that she unknowingly sang every note as if it was high – on a high Floor in a small space in her Pyramid. She wasn’t utilizing the wider Pyramid shape for her lower notes on the lower Floors. The result? Judee’s high notes soared, but her lower notes sounded weak and thin. With my instruction, Judee adjusted the lower notes to the fuller space of the Pyramid returning to her rich mezzo soprano. Now she had a big range and beautiful voice from top to bottom. No more High Note Envy!

高音羡慕： 那些过于专注于唱高音，以至于不知不觉地把自己音域里的所有音都唱成高音的人。尊重你的全部音域，不要羡慕高音。

HIGH NOTE ENVY: Those who are so focused on singing high notes that they unknowingly sing all the notes in their range as if they were high notes. Honor your full range. Don’t envy the high notes.

令人困惑的短语——金字塔

CONFUSING PHRASES – PYRAMID

“关于如何唱高音，你学过什么或者听说过什么？”

“What have you been taught or heard about how to sing high notes?”

让我们重新回顾一下高音唱法章节开头的那些容易混淆的短语，并得到重要的答案：

Let’s revisit the Confusing Phrases from the beginning of the chapter of how to sing high notes and get the important answers:

令人困惑的短语——金字塔：

CONFUSING PHRASES – PYRAMID:

1.“抬起你的软腭”

1. “Lift your soft palate”

2.“保持喉部低位”

2. “Keep your larynx low”

3.“把喉咙张大一点”

3. “Open your throat wider”

4.“抬起你的额头”

4. “Lift your forehead”

5.“利用位置——就像放置你的声音一样”

5. “Use Placement – as in to place your voice”

1.“抬起软腭。”有些老师告诉学生唱高音时要“抬起软腭”。当你唱更高的音时，喉咙的物理变化是声带变薄，是的，软腭物理上会抬高。但就像我不希望你在唱歌时考虑声带振动一样，我也不希望你想着抬起软腭。唱高音时专注于软腭上升的物理结果会给你的声音增加张力。记住，量子物理学中有一种理论说，当你观察一个分子时，分子会改变它的状态。不要想着抬起软腭，而是把注意力放在沿着金字塔形状的前通道向上走。这就足够了。

1. “Lift the soft palate.” Some teachers tell their students to “lift the soft palate” to sing high notes. When you sing a higher note, the physical change in the throat is the vocal cords stretch thinner, and yes, the soft palate physically lifts higher. But just as I don’t want you to think about your vocal cords vibrating while singing, I also don’t want you to think about lifting the soft palate. Focusing on the physical result of the soft palate rising while singing high notes will add tension to your voice. Remember, in quantum physics there is a theory that says when you observe a molecule, the molecule changes its state. Instead of thinking about the soft palate lifting, put your attention on going up the Floors of the Front Passage in the shape of a Pyramid. That’s enough.

2. “保持喉部低位”。喉部是位于喉咙内、容纳声带的发声器官。当你上下唱高音时，喉部也会上下移动。那些难以唱出高音的歌手会试图将高音从喉咙中挤出来——结果，喉部会急剧上升，几乎“勒死”歌手。为了解决这个问题，一些老师会给出“保持喉部低位”的指令，试图解决症状，却无法根治问题。问题从一开始就存在——然后就会产生多米诺骨牌效应：如果呼吸和支撑没有到位，就不可能唱出自由的高音。如果歌手没有在更高的基底音上为高音留出更小的空间，喉部就会在可怕的压力下上升。试图强行将喉部压低只会增加压力。学习“革命性发送”的全部五个发声技巧要素——呼吸、支撑、共鸣、地板和金字塔——将使喉部保持自然低位。你的高音会很轻松，而且你不会为了强行将喉部拉低而给喉咙造成压力。

2. “Keep your larynx low.” The larynx is the voice box that lives in your throat and houses the vocal cords. When you sing up and down the scale, the larynx does shift up and down in your throat too. Singers who struggle to reach high notes are known to try to squeeze those high notes from the throat – in turn, the larynx can sharply rise and practically “strangle” the singer. To try and solve this issue, some teachers give the command to “keep your larynx low,” thus trying to fix the symptom, but not the problem. The problem starts at the beginning – and then there is a domino effect: If The Breath and Support are not properly in place, free high notes are not possible. If the singer doesn’t supply a smaller space for the higher notes on the higher Floor, the larynx can rise with terrible tension. Trying to muscle the larynx down only adds more tension. Studying all five voice technique elements of The Revolutionary Send – The Breath, Support, Resonance, Floors, and Pyramid – will keep the larynx naturally low. Your high notes will be easy, and you won’t add tension to your throat trying to muscle the larynx into a low position.

3. “把喉咙张大。” 试图在喉咙中创造更大的空间来唱高音，会使音高变低，音色消散。更糟糕的是，这样做还可能损伤你的声带。为了达到你音域内的最高音，你现在要想象那些音符位于你“前声道”的最高层，在一个更小的空间里振动……而不是更大的空间。这就是物理学的原理。

3. “Open your throat wider.” Trying to create a bigger space in your throat to sing higher notes will make the pitch flat and the tone dissipated. Worse, it may also damage your vocal cords in trying to do so. To reach the highest notes in your range, you will now imagine those notes living on the highest Floors in you Front Passage, vibrating in a smaller space…not bigger. Just the way the physics works.

4. “抬起你的额头。”我们经常听到合唱团指挥发出这个指令，他们拼命地想让合唱团成员的歌声不至于太平（音调低于标准）。在对合唱团说“抬起你的额头！”时，歌手们会抬起额头，把音调抬高。仔细想想，这个指令其实是想让合唱团成员把嗓音提高到更高的“落地”——也许这就是它经常奏效的原因。唯一的问题是，为了唱准音调而抬起额头会增加额头的紧张感，从而导致身体疲劳和音色低沉。我建议合唱团指挥让歌手们将呼吸与肚脐支撑连接起来（让每个人都做一些“嘶嘶嘶嘶”的练习），然后连接到共鸣（通过前通道发出“嗯嗯嗯”的声音），在上层唱一些练习，增加超级肚脐支撑的能量，并利用金字塔的形状来唱高音。这样合唱团就能唱对音准，他们的声音会清新、充满活力、美妙动听，连续唱几个小时也不会感到疲劳。

4. “Lift your forehead.” We often hear this command from choir directors who are trying desperately to get their choir to not sing flat (sagging below the correct pitch). In saying to the choir, lift your forehead! the singers reach up with their foreheads to lift the pitch higher. When you think about it, this command is trying to get the choir members to lift their voices to a higher Floor – maybe that’s why it often works. The only problem is that physically lifting the forehead adds tension from the forehead in order to sing on pitch, which brings on physical fatigue and muted tones. I suggest that choir directors have their singers connect The Breath with the bellybutton Support (have everybody do a few “Ssssss” exercises), then connect to the Resonance (“Hmmmmm” through the Front Passage), sing some exercises going up the Floors adding more energy of the Super Bellybutton Support and using the shape of the Pyramid for the higher notes. The choir would sing right on pitch, and their voices would be fresh, vibrant, and gorgeous for hours on end without fatigue.

5. “运用定位——就像定位你的声音。”我使用的术语，例如“楼层”和“金字塔”，在我的方法中确实存在某种定位。但“定位”声音并非我最喜欢用的词。我不会说“定位你的声音”，而是用“期待”和“想象”这样的词。我希望你让音调的振动活跃起来。如果你试图让你的声音“固定”在某个位置，可能会产生额外的张力，抑制自由共振。

5. “Use Placement – as in to place your voice.” With the terms I use, Floors and Pyramid, there certainly is a kind of Placement in my method. But “to place” the voice is not my favorite term. Instead of saying place your voice, I use words like expect and imagine. I want you to LET the vibration of the tone live. If you try to hold your voice “in place,” there could be extra tension that inhibits the free Resonance.

误区：真正的歌手不需要声乐课。



确实，有些专业歌手声称自己从未上过声乐课——但他们的歌声真的很棒！我称他们为“励志歌手”。他们相信上帝创造的身体——呼吸、支撑和歌唱。他们毫无顾虑或评判地表达情感。但是，如果这些歌手感觉没有灵感，该怎么办呢？如果他们突然在大型活动中紧张不安，或者在户外寒冷的空气中演唱，或者观众席中出现了他们想给重要人物留下深刻印象的人，他们会怎么做？我听过这些艺术家在压力之下突然跑调，高音嘶哑。我不禁想，他们会不会重新考虑这堂课？对于我们其他人来说，拥有一套像本章中的概念这样的工具，在这样的时刻可以依靠，真的非常有帮助。我们每次都能从中获得灵感。

MYTH: Real singers don’t need voice lessons.



It’s true, there are professional singers who claim they’ve never had a voice lesson – and they sound really good! I call them Inspirational Singers. They trust their body as God made it – to breathe, support, and sing. They express their emotions without worry or judgment. But what about the days when these singers don’t feel inspired? What do they do if they are suddenly a bundle of nerves for a big event, or they’re singing outside in the freezing cold air, or there’s someone important in the audience who they’d like to impress? I’ve heard these artists in stressful situations screech out of pitch and crack on high notes. I wonder, might they reconsider that lesson? For the rest of us, it is really helpful to have a set of tools like the concepts in this chapter to turn to in moments like this. We can be inspired every time.

 

 

组织自己– 请勾选金字塔。

Organize yourself – Please check off Pyramid.

 

 

现在，你已经掌握了“革命性发送”中“声音技巧”方面的所有元素：呼吸、支撑、共鸣、地板和金字塔。你还融入了“情感生活”方面的前两个元素：个性化和“第四面墙” 。干得好！

You now have in place ALL the elements on the Voice Technique Side of The Revolutionary Send: The Breath, Support, Resonance, Floors, and Pyramid. You’re also incorporating the first two elements on the Emotional Life Side: Personalization and Fourth Wall. Great work!

现在我们准备完成情感生活方面的 最后三个要素：感觉条件、需求和行动。

Now we are ready to finish the last three elements on the Emotional Life Side: Sensory Condition, Need, and Action.

准备好用“感官条件”来消除你的恐惧和紧张情绪吧！我们开始吧！

Get ready to bust your fear and tension with Sensory Condition. Let’s do this!

第八章

chapter eight

---

感觉状态

SENSORY CONDITION

环球小姐

MISS UNIVERSE

歌唱诱惑

Singing Seduction

环球小姐的经纪人打电话给我。“我的客户刚刚参加了音乐电影《吉屋出租》中咪咪角色的试镜。我有点困惑：钢琴家的表现让我惊艳。但选角导演——呃，她没说什么。不过她同意了另一次试镜——这次是百老汇版的《吉屋出租》——并建议我的客户去上一节声乐课。你能帮忙吗？”

Miss Universe’s manager called me. “My client just auditioned for the role of Mimi in the movie musical, Rent. I’m confused: The pianist was blown away. But the casting director – well, she didn’t say much. Though she did agree to another audition – this time for the Broadway version of Rent – and suggested that my client have a voice lesson. Can you help?”

我说：“是的。 ” 然后，我打电话给选角导演，想知道出了什么问题。我得到了答案。“幸好她能和你一起工作，玛丽……她不会唱歌！”

I said, “Yes.” Then, I called the casting director to find out what the problem was. I got my answer. “Good thing she’ll be working with you, Mary…She can’t sing!”

天哪——“惊艳”和“她不会唱歌！”简直是天壤之别。 我太好奇想听听她唱歌了。

Oh, my goodness – “Blown away” and “She can’t sing!” are worlds apart. I was so curious to hear her.

第二天，环球小姐走进了我的录音棚。我心想她一定很漂亮，果然，她美得令人窒息——正是他们想要的咪咪角色人选。我们一起演唱了咪咪著名的处女作《Out Tonight》。没想到，环球小姐竟然拥有一副绝妙的流行嗓音！她音色优美，高音部分也都出彩。她也做足了功课：她的嗓音和乐句与咪咪的原型达芙妮·鲁宾·维加一模一样。要知道，对于歌手来说，学习音乐剧的乐谱通常是一条硬性规定，要完全照着作曲家在纸上写下的歌词来学——而不是照着录音来学。但《吉屋出租》是个例外。 《吉屋出租》的音乐总监特意告诉我：“《吉屋出租》的原班人马录音是所有未来演员的模板。”

The next day, Miss Universe walked into my studio. I figured she’d be beautiful, and sure enough, she was knock-out gorgeous – just who they’d want to cast for the character of Mimi. We went through Mimi’s famous first number, “Out Tonight.” Low and behold, Miss Universe had an amazing pop voice! She had a beautiful tone and hit all the high notes. She had also done her homework: Her belting and phrasing were exactly that of Daphne Rubin Vega, the original Mimi. You see, it’s usually the hard and fast rule for singers to learn the score of a musical just as the composer wrote it – on the paper – not as you hear it on the recording. But Rent is the exception to this rule. The musical director of Rent told me specifically, “The original cast recording of Rent is the template for all future casts.”

正是因为她的美貌、浑厚的嗓音和绝佳的音域，我才明白为什么这位钢琴家会被如此迷倒。然而，那位著名的选角导演却说：“她不会唱歌！”我知道为什么。环球小姐虽然美丽、苗条、性感，但她的身体却显得僵硬。她的脖子、手臂、臀部和腿部都绷得紧紧的。换句话说，她的身体毫无性感可言。没有了咪咪的性感，选角导演显然不在乎她的声音能如何演绎音符。

Because of her beauty, powerful voice, and wonderful range, now I knew why the pianist was blown away. And yet, the renowned casting director said, “She can’t sing!” And I knew why. As beautiful, slender, and sexy-looking as Miss Universe was, her body was jammed. There was tension in her neck, arms, hips, and legs. In other words, there was no sensuality in her body. Without the sexuality of Mimi, it clearly didn’t matter to the casting director what her voice could do with the notes.

我突然意识到，环球小姐多年来一直穿着泳衣和华丽的礼服参赛，炫耀自己的身材，同时又确保不让选美评委觉得她性感“粗俗”。然而，在《吉屋出租》中，咪咪这个角色对性关注有着强烈的渴望，并在“今晚外出”环节中四处游荡。但环球小姐不会这么做。她太害怕过度性感了。我不知道她为什么害怕，但我必须想办法让环球小姐释放她的身体，这样她就会在唱歌时暴露她的性感。感官条件来救援了！那么，用来表现性感的最佳感觉是什么？油。

It dawned on me that Miss Universe had competed for years in bathing suits and glamorous gowns, showing off her figure, while being sure never to come across to the pageant judges as sexually “crude.” However, in Rent, the character of Mimi has a devastating need for sexual attention and is on the prowl during “Out Tonight.” But Miss Universe wouldn’t go there. It was too scary for her to be overtly sexy. I didn’t know exactly why she was scared, but I had to think of a way for Miss Universe to release her body, so she’d expose her sexuality while singing. Sensory Condition to the rescue! And the best sensation to use for sensuality? Oil.

“唱歌的时候，感受精油流淌全身的感觉。想象精油从头顶滴落到脚趾。” 这招非常有效。环球小姐演唱时，她的颈部、手臂、臀部和腿部都因专注于精油而得到放松。但她能坚持下去吗？第二天就是试镜，她必须信任这种全新的感觉，不能回到肌肉紧绷的状态。

“While you sing, feel the sensation of oil running down your body. Imagine the oil dripping from the top of your head all the way down to your toes.” It worked like a charm. As Miss Universe sang, her neck, arms, hips, and legs released simply by focusing on the oil. But could she keep it up? The audition was the next day, and she had to trust this new sensation and not revert back to the muscle memory of a jammed body.

环球小姐又一次为选角导演演唱。你猜怎么着？她接到了回电！想想看——选角导演竟然改变了她的看法，不再认为她不会唱歌！而是让她去见创意团队。同一天，环球小姐在导演和满屋子的制片人面前演唱了她的最后一场试镜。环球小姐能在所有这些“评委”面前，保持她作品中那种油润的质感，并保持她的身体自由吗？

Miss Universe sang for the casting director – again. And guess what? She got the callback! Imagine that – the casting director actually changed her opinion from She can’t sing! to sending her on to meet the creative team. That same day Miss Universe sang her final audition for the director and a room full of producers. Could Miss Universe sustain the sensation of oil in her work in front of all of those “judges” and keep her body free?

最后一次试镜后，我收到了她的反馈：“她没有充分发挥自己扮演咪咪的能力。她没有得到这个角色。”

I received her feedback after the final audition: “She didn’t let herself go as Mimi. She didn’t get the part.”

运用“感官条件”，就像感受油性音效一样，需要练习。就像发声练习一样，它需要成为你日常生活的一部分——而不是仅仅尝试一两次。也许再多一点时间，环球小姐就能克服恐惧，相信这种新的感觉。但你可以放心，“感官条件”可以成为一种神奇的工具，将你的歌唱水平提升到一个新的高度。

Using Sensory Condition, like the sensation of oil, takes practice. Just as vocal exercises, it needs to be a part of your daily routine – not just trying it once or twice. Maybe with a little more time, Miss Universe would have been able to bust through her fear and trust the new sensation. But you can be assured, Sensory Condition can be a magical tool in bringing your singing to the next level.

感觉状态

SENSORY CONDITION

3. 情感生活方面

3. Emotional Life Side

感官状态——消除恐惧和紧张

SENSORY CONDITION – Busting Fear & Tension

目标：帮助你避免对自己的声音进行分析和评判，比如“我听起来怎么样？观众喜欢我吗？”这类想法会让你全身肌肉紧绷，影响你的声音和表演。现在你将学习如何释放身体，感受这种感觉。

The Goal: To help you avoid thinking analytically and judgmentally about your voice, as in How do I sound? Does the audience like me? Those thoughts tighten every muscle in your body and jam both your voice and your performance. Now you’ll learn how to release the body into a sensation.

为什么这很重要：当您考虑自己的声音或评判自己的表演时，不仅您的身体会变得紧张并分散您对歌曲故事的注意力，而且同时，观众也会分心并且无法体验到您的感受。

Why This Is Important: When you think about the sound of your voice, or are judging your performance, not only does your body get tense and distract you from the story of your song, but at the same time, the audience becomes distracted and doesn’t experience you.

需要改变的是：你不再被恐惧和脑海中的思绪所困扰，而是专注于身体的感受。“感官条件”能让你摆脱大脑中引发恐惧和紧张的分析部分，进入大脑中创造部分，这样你就能专注于自己的身体，用自由的声音歌唱。

What Has To Change: Instead of being overcome by fear and thoughts in your head, you’ll focus on a sensation in your body. Sensory Condition takes you out of the analytical part of your brain that triggers fear and tension and moves you into the creative part of your brain, so you can be in your body and sing with vocal freedom.

感觉状态的四个例子

FOUR EXAMPLES OF SENSORY CONDITION

走出你的头脑，进入你的身体

Out of Your Head and Into Your Body

让我们开始吧！感觉条件的选择确实有数百种。以下是我最喜欢的四个例子，我们将在接下来的练习中用到它们。

Let’s get right to it! There are certainly hundreds of choices to use as a Sensory Condition. Here are four of my favorite examples that we will use in our exercises ahead.

1. 感受油的感觉

1. Feel the sensation of oil

2. 感受阳光

2. Feel the sensation of the sun

3. 感受微醺的感觉

3. Feel the sensation of being tipsy

4. 融入角色

4. Step into a character

1. 油感

1. SENSATION OF OIL

环球小姐

Miss Universe

你刚刚读到环球小姐将油流淌在身上的感觉作为一种感官条件。现在轮到你了。

You just read about Miss Universe using the sensation of oil running down her body as a Sensory Condition. Now it’s your turn.

[m] 的魔力

The Magic of [m]

你注意到了吗？我在练习中使用[m]辅音——比如“嗯嗯”——这是有原因的。因为你用嘴唇发[m]音，所以这个辅音会自然振动，让你的声音向前（因为你的嘴唇在脸的前面）。轻轻地抿紧嘴唇，享受[m]在嘴巴和上唇周围某处振动的感觉是理想的。现在，加上一种感觉条件，比如油的感觉，[m]就呈现出一个全新的维度。你不需要思考这个练习——相反，你会感受到这种感觉，你的恐惧和紧张感就会神奇地消失。

Have you noticed? I use the [m] consonant in our exercises – like “Hmmmmm” – and there’s a good reason why. Since you say the [m] with your lips, this consonant naturally vibrates and brings your voice forward (because your lips are in the front of your face). Pressing your lips softly together and enjoying the vibration of [m] somewhere around your mouth and upper lip is ideal. Now, adding a Sensory Condition, like the sensation of oil, the [m] takes on a whole new dimension. You don’t think about the exercise – instead, you feel the sensation, and your fear and tension magically disappear.

三个张力调整

Three Tension Tweaks

舌头、下巴、额头

The Tongue, the Jaw, the Forehead

舌头、下巴和额头是许多歌手保持紧张的三大元凶。Sensory Condition 可以消除舌头、下巴和额头被卡住时产生的隐秘紧张感。

The tongue, jaw, and forehead are the three biggest culprits of holding tension for many singers. Sensory Condition can eliminate that sneaky tension when the tongue, jaw, and forehead are jammed.

1. 舌头

1. The Tongue

埃里克·安东尼·洛佩兹

Eric Anthony Lopez

我听到我的学生埃里克·安东尼·洛佩兹在他的第一堂声乐课上唱歌时，他把舌头往后拉，紧紧地绷着，好让他那美妙的歌剧嗓音听起来更浑厚、更洪亮、更老练。舌头的紧张实际上扭曲了他的声音，产生了一种“假”音。当埃里克在油润的触感中放松舌头时，他的声音在房间里响起，变得洪亮而动听，听起来就像他自己的声音，而不是冒牌货。埃里克后来成为有史以来在《歌剧魅影》中饰演皮昂吉的最年轻的男高音。

When I heard my student Eric Anthony Lopez sing for me in his first voice lesson, he was pulling his tongue way back and holding it tight in order to make the tone of his magnificent operatic voice darker, bigger, and sound older. The tongue tension actually distorted his voice and created a “fake” sound. When Eric released his tongue in the sensation of oil, his voice was twice as big and beautiful in the room, and it sounded like his voice – not an imposter. Eric went on to be the youngest tenor to ever sing the role of Piangi in The Phantom of the Opera.

2.下颌

2. The Jaw

兔八哥

Bugs Bunny

造成下颌紧张的原因有很多。以下是一些：

There are many reasons for jaw tension. Here are a few:

• 握住下巴，听听你脑海中的声音
• Holding the jaw to hear your voice back in your head
• 由于压力、焦虑和愤怒的累积，咬紧牙关（如颞下颌关节）来“控制”情绪——想象一下一只狗在生气时咬紧牙关并咆哮
• Locking the jaw (like TMJ) to emotionally “hold on” because of accumulated stress, anxiety, and anger – Think of a dog locking his jaw and growling when he’s angry
• 握住下巴作为声音的支撑
• Holding the jaw as the Support for your voice

在这些例子中，你看到自己了吗？

Do you see yourself in any of those examples?

我的学生杰弗里·伯格曼就是这样做的，他用下巴支撑着声音。几十年来，杰弗里一直是兔八哥以及电影、广告和电视中众多动画角色的配音演员，享誉全球。他来找我，是因为这是他职业生涯中第一次以兔八哥的形象演唱。

Holding the jaw as the Support for the voice is what happened to my student Jeffrey Bergman. Jeffrey has been the world-renowned voice of Bugs Bunny and many animated characters in movies, commercials, and on television for decades. He came to me because for the first time in his career he had to sing as Bugs Bunny.

可以想象，杰弗里说话时的声音共鸣效果令人叹为观止。他巧妙地运用面部、喉咙和头部的共鸣器，能够模仿各种不同的角色声音。但当杰弗里为我唱歌时，我看到他下巴紧绷，努力支撑着自己的声音。原来他之前并不知道“超级肚脐”这个说法——而他只上了一节课就掌握了！

As you can imagine, the Resonance of Jeffrey’s speaking voice was incredible. He could make so many different character voices applying his creative usage of the resonators in his face, throat, and head. But when Jeffrey sang for me, I saw his jaw tighten trying to support his voice. Turns out he didn’t know about the Super Bellybutton – and with one lesson, he got it!

杰弗里新获得的支撑，以及通过油压带来的放松下巴的乐趣，让他能够轻松地扮演兔八哥。更棒的是，在长时间录制动画角色的演唱和朗读后，他的声音却丝毫没有感到疲倦。这种支撑和感官状态赋予了杰弗里全新的体力，让他能够胜任唱歌和朗读的配音工作。

With Jeffrey’s newfound Support and the joy of releasing his jaw through the sensation of oil, he sang as Bugs Bunny with ease. Even better, after long recording sessions of singing and reading as the animated characters, his voice didn’t get tired. The Support and Sensory Condition gave Jeffrey new stamina for his voiceover work in both singing and speaking.

3. 额头

3. The Forehead

天然肉毒杆菌

Natural Botox

皱眉是思考和担忧的象征。我自己也有思考时皱眉的习惯。在油性感觉下放松额头，就像注射了一种“天然肉毒杆菌”，这样额头上就不会出现皱纹，你的音色中也能响起更多泛音。如果你也有这个问题，可以拿一些透明胶带，在唱歌时把一大块胶带贴在额头中央。油性感觉会提醒你不要皱眉。“天然肉毒杆菌”才是关键。

Scrunching the forehead is indicative of thinking and worrying. I myself have the habit of furrowing my brow when I’m thinking. Releasing the forehead in the sensation of oil applies a kind of “natural Botox” so that there are no wrinkles in your forehead and more overtones can ring in your timbre. If you have this problem, grab some scotch tape, and put a nice large piece in the middle of your forehead while singing. Along with the sensation of oil, you’ll be reminded not to scrunch your forehead. “Natural Botox” is the key.

连奏练习

LEGATO EXERCISE

油感

Sensation of Oil

你已经做过“放松”舌头和“咀嚼”来放松下巴的练习。现在，当你将[m]音的美妙振动与连奏练习联系起来时，也想象一下油在你的舌头、下巴、额头上流淌，并顺着身体流淌的感觉。你是在用一种感觉而不是一种想法来激活感知条件，这将提升你发声技巧的各个方面。

You’ve already done exercises with “relaxing” your tongue, and “chewing” to release your jaw. Now, as you connect the wonderful vibration of the [m] to the Legato Exercise, also imagine the sensation of oil on your tongue, jaw, forehead, and running down your body. You are activating the Sensory Condition with a feeling rather than a thought, and it will improve every aspect of your voice technique.

就像你以前做过的那样，从中央 C 开始尽可能无缝地唱 [mi me ma mo mu]。专注于从辅音 [m] 开始的振动感，并将该振动通过每个元音顺畅而轻松地发送到你在第四面墙上的个性化。

As you’ve done before, sing [mi me ma mo mu] as seamlessly as possible starting on middle C. Focus on the sensation of vibration starting with the consonant [m] and send that vibration to your Personalization on the Fourth Wall through each vowel smoothly and effortlessly.

2. 太阳的感觉

2. Sensation Of The Sun

保罗·纽曼

Paul Newman

苏珊·巴特森讲述了她的表演导师李·斯特拉斯伯格讲述的一个故事，当时她在纽约演员工作室跟随他学习表演。

Susan Batson recounts a story told by her master acting teacher, Lee Strasberg, from the days she studied with him at the Actors Studio in New York City.

年轻的保罗·纽曼——没错，就是那位已故的奥斯卡影帝——正面临着一个两难的境地。他的身体僵硬不堪。当僵硬感占据上风时，保罗·纽曼失去了他天生的魅力。他的表演似乎卡壳了，他的“X因素”也消失了。

Young Paul Newman – that’s right, the late great Oscar-winning actor – was faced with a dilemma. His body was stiff. When the stiffness took over, Paul Newman was void of his natural charisma. His acting seemed jammed up and his “X-factor” disappeared.

李·斯特拉斯伯格指导他的学生运用一种感官状态：“在阳光的触觉中行走。” 突然间，保罗·纽曼的生命力仿佛被阳光照耀在脸上和身上的触觉所照亮。僵硬的身躯转化为他与生俱来的明星气质，无论在镜头前还是镜头外。

Lee Strasberg instructed his student to use a Sensory Condition: “Walk in the sensation of the sun.” Suddenly, Paul Newman’s life force was literally illuminated by just feeling the sun on his face and body. The stiffness was transformed into the star quality he innately possessed, on and off camera.

跳过爱丽丝

Skipping Over Alice

尽管爱丽丝的声音是我们班上最动听的，而且唱歌经验也最丰富，但在小组课上，我总是跳过她。即使她就在我面前，我也看不到她。这感觉有点奇怪，因为她总是笑容灿烂，性格积极向上，而且工作认真负责。

Even though Alice had one of the most beautiful voices in my class – and the most singing experience – I kept skipping over her during our group sessions. I didn’t see Alice even when she was right in front of me. It seemed a bit odd since she always had a beaming smile, positive personality, and was committed to the work.

“爱丽丝，你经常遇到这种情况吗？别人没注意到你在那里吗？”

“Alice, does this happen to you often? Do people not notice that you’re there?”

“哦，是的，经常这样。也许我只是害羞。”

“Oh yes, it happens all of the time. Maybe I’m just shy.”

我给爱丽丝讲了保罗·纽曼的故事，并给她布置了同样的作业：“感受阳光的气息”。我们还把阳光的气息融入到她接下来一周学生作品展示会上演唱的歌曲中。爱丽丝非常喜欢！

I told Alice the Paul Newman story and gave her the same homework to “walk in the sensation of the sun.” We also applied the sunshine to the songs she was performing at the student showcase the following week. Alice loved it!

时间一分一秒地过去，我决定让爱丽丝担任开场嘉宾。我确保这位首秀歌手拥有丰富的舞台经验、优美的嗓音和自信。爱丽丝的准备工作做得非常完美。那天晚上，她惊艳了全场！她的表演感人至深，嗓音优美动听，明星气质闪耀全场。演出结束后，她跑到我面前。

The week rolled around and I decided to have Alice open the show. I make sure the first singer has some prior stage experience, a beautiful voice, and confidence. Alice had done her homework perfectly. That night she wowed the crowd! Her performance was emotional and touching with a gorgeous voice and star quality that shined. After the show she ran up to me.

玛丽！我整个星期都沐浴在阳光下！而且，我告诉你，大家都在看着我——还跟我说话！甚至还有一个我一直害羞不敢跟说话的男孩。嗯……他走到我面前，跟我说话了！”这真是我最棒的一周！

“Mary! I’ve been walking in the sensation of the sun all week! And let me tell you, everybody has been looking at me – and talking to me! There’s even a boy that I’ve been too shy to talk to. Well…he came up to ME and talked to ME!” It’s been the best week ever!

感觉条件不仅有助于舞台表现，现在你还拥有了结识新朋友的工具。

Not only does the Sensorial Condition help with stage presence – now you have a tool to meet new people.

路易莎在车里

Luisa in a Car

我的学生路易莎在米兰开车时，决定练习感受阳光。她在阳光下敞开胸膛，感受阳光照在脸上和身上。就在这时，一辆车开过来，车里坐着一群吵闹的男孩，他们探出车窗，向她飞吻，大喊着“最美的风景！！！”

My student Luisa was driving her car in Milan when she decided to practice feeling the sensation of the sun. She opened her chest in the sunshine and felt the sun’s rays on her face and torso. Just then, a car of rowdy boys drove by hanging out the windows blowing her kisses yelling, “Bellissima!!!”

当 Luisa 立即收到反馈说感觉条件有效时，她感到非常震惊和高兴！

Luisa was shocked and delighted to get immediate feedback that Sensory Condition works!

 

 

3. 微醺的感觉

3. Sensation Of Being Tipsy

玛尔塔

Marta

玛塔给我发信息说，她正在准备《我的滑稽情人》这首歌，准备在意大利音乐学院参加期末声乐考试。她很紧张，因为老师让她唱得大声点。“把声音放大！”他们会这么说。但她每次努力照做，都只感觉声带很紧。于是我们安排了一堂私人课。

Marta sent me a message that she was preparing My Funny Valentine for her final vocal exam at an Italian conservatory. She was nervous because her teachers were telling her to sing louder. “Push your voice out!” they’d say. But all she felt was strain on her vocal cords when she tried to comply. We scheduled a private lesson.

玛塔走进米兰的练习室，看起来和我一年前在我班上记忆中的她一模一样。她让我想起了《蒂凡尼的早餐》里的奥黛丽·赫本——既美丽又脆弱。（拥有敏感的歌手是一种天赋，而玛塔就拥有这种天赋。）她为我演唱。呼吸和支撑都到位，她的歌声在地板和金字塔之间回荡着美妙的共鸣。我很高兴看到玛塔保留了我们去年一起练习时的所有五个声乐技巧要素。

Marta walked into the practice room in Milan looking just as I had remembered her in my class one year before. She reminded me of Audrey Hepburn in Breakfast at Tiffany’s – both beautiful and vulnerable. (To be a singer who is sensitive is a gift, and Marta had it.) She sang for me. The Breath and Support were in place, and she was singing with beautiful Resonance through the Floors and Pyramid. I was happy to see that Marta had kept all five voice technique elements from our work together the previous year.

随后，问题显露出来：玛塔开始检查自己的嗓音是否足够好。她的目光不断上移，仿佛要探入自己的内心深处，听清自己的音色。她轻盈如羽毛的身体绷紧，仿佛在拼命地“坚持”。没错，就像音乐学院的老师们说的那样，她的声音太轻柔了。但即便如此，玛塔依然脆弱不堪。她用心歌唱。

Then, the problem showed its face: Marta was checking to see if her voice was enough. Her eyes were wandering up as if she was trying to look inside her head to hear her tone. Her light and feathery body was taut and constricted, “holding on” for dear life. And, yes, just like her teachers at the conservatory said, her voice was too soft. But even with all of that tension, Marta was vulnerable. She sang from her heart.

玛塔，你做得太好了。你的演唱技巧很棒，而且你对歌曲的情感非常投入。我们现在要做的就是在你的表演中加入三个表演元素，让你集中注意力，消除身体不必要的紧张，这样你的期末考试就能顺利通过了。

“Marta, you’re doing so many things well. Your voice technique is great, and you’re emotionally connected to the song. All we have to do now is add three acting elements to your performance that will give you a focus and eliminate the unwanted tension in your body so your final exam can sing.”

我指导玛塔把她那有趣的情人节个性化贴纸贴在第四面墙上。现在她的目光集中在他身上，而不是她自己的声音上。我进一步说道：“那个人离你很远，所以你必须把歌声传到他那里。”啊哈！现在她的声音自动变大了，不需要任何额外的推动。接下来我们必须克服真正的罪魁祸首——她紧张的身体。我能感觉到玛塔害怕期末考试达不到老师的期望。感官调节会起到作用。

I instructed Marta to put the Personalization of her Funny Valentine on the Fourth Wall. Now her eyes were focused on him, not on the sound of her own voice. I went further. “The person is far away from you, so you must send the song to reach him.” A-ha! Now her voice was automatically louder without extraneous pushing. Then we had to conquer the real culprit – her tense body. I could feel Marta’s fear of not living up to her teachers’ expectations for the final exam. Sensory Condition would do the trick.

“玛塔，你21岁了。你喝过酒之后感觉醉意吗？如果没有，你可以尝试其他刺激方式，比如大笑，或者好好聊聊天。”

“Marta, you’re 21. Have you ever felt tipsy on alcohol? If not, you can use another high, like laughing too much, or a good conversation.”

“我以前也喝过酒。”

“I’ve been tipsy on alcohol before.”

“你还记得那种感觉吗？”

“And do you remember that sensation?”

“当然！”

“Sure!”

“好吧！我们来用酒精微醺的感觉状态。我跟你说，转一圈头晕就行。你马上就会有醉意。” 果然，玛塔转过身，瞧！她醉了。“好了，醉了，玛塔！找到你第四面墙上的人，然后把歌发给他。记住，他离你很远，所以一定要让他听到你的声音！”

“Okay! Let’s use the Sensory Condition of being tipsy on alcohol. I’ll tell you what, just spin around and get dizzy. You’ll feel tipsy right away.” Sure enough, Marta spun around, and voilà! She was tipsy. “Alright, TIPSY Marta! See the person on your Fourth Wall and send the song to him. Remember, he’s far away, so make sure he hears you!”

第一次尝试，玛塔就展现出了她全部的实力。她看到了自己在“第四面墙”上唱歌的对象，酒精让她微醺，身体也完全放松了下来。玛塔成为了她自己版本的“我的滑稽情人”的容器——这一切都发生在一个小时内。

On the first try, Marta was in her full power. She saw the person to whom she was singing on her Fourth Wall, and with the sensation of alcohol making her tipsy, her body released completely. Marta was the vessel of her own, authentic version of My Funny Valentine – all within an hour.

那周晚些时候，玛尔塔以优异的成绩通过了期末考试。

Later that week, Marta passed her final exams with flying colors.

* * *

* * *

我们刚刚观察了玛塔微醺的状态。现在轮到你了！你不需要喝酒，甚至不需要喝过酒！微醺的感觉可能是“和朋友大笑过头”的兴奋，也可能是“愉快的交谈”。无论如何，我发现最快、最有趣的微醺方式就是“转圈晕眩”。我们开始吧！

We just observed Marta in the sensation of being tipsy. Now it’s your turn! You don’t need to drink alcohol or to have ever had a drink! The tipsy sensation can be the high of “laughing too hard with a friend,” or a “good conversation.” In any event, I have found that the quickest and most fun way of feeling tipsy is to “spin around and get dizzy.” Let’s do this!

4. 融入角色

4. STEP INTO A CHARACTER

玛丽亚饰演玛丽莲·梦露

Maria as Marilyn Monroe

玛丽亚是个有趣的例子。当她在全班同学面前演唱《绿野仙踪》中的《彩虹之上》时，她紧咬下巴，嘴巴几乎不动。这是一种控制力的表现。玛丽亚的声音听起来有些低沉，但更重要的是：我发现玛丽亚紧绷的下巴改变了她的面容。奇怪的是，她可爱的嘟嘴让人想起了20世纪30年代的童星秀兰·邓波儿。我的诊断是：玛丽亚试图保持少女气质，不暴露她作为女性的柔美和性感。

Maria was an interesting case. As she sang her rendition of “Over the Rainbow” from The Wizard of Oz in front of the class, she held her jaw and barely moved her mouth. That’s a sign of control. Maria’s voice was muffled, but there was more: I found that Maria’s tight jaw transformed her face. Strangely, she had a cute pout reminiscent of the 1930’s child star, Shirley Temple. My diagnosis: Maria was trying to stay a little girl and not expose her femininity and sensuality as a woman.

我隐约觉得，如果玛丽亚像“性感角色”那样动动嘴巴，所有问题都会一下子迎刃而解。你看，扮演一个“角色”会让玛丽亚超越自我。她或许有勇气扮演一个成熟的女人，扮演另一个人。

I had an inkling that if Maria moved her mouth like a “sexy character,” all of the issues would be solved in one fell swoop. You see, taking on a “character” would have Maria stepping outside of herself. She just might have the courage to be a grown woman as somebody else.

“玛丽亚，像玛丽莲·梦露一样动动嘴。我知道这样会感觉嘴巴有点大，但试试看吧。”

“Maria, move your mouth like you are Marilyn Monroe. It will feel too big, I know, but just give it a try.”

玛丽亚听从我的指示，化身玛丽莲·梦露，像性感的“蛇蝎美人”一样动着嘴。那一刻，玛丽亚的嘴唇不再紧绷，而是变得性感自然。突然，我们听到房间里传来一阵美妙的声音。玛丽亚哭了起来。

Maria followed my instruction and dropped into the character of Marilyn Monroe, moving her mouth like the sexy “femme fatale.” In that moment, Maria’s lips went from tight rubber bands to a voluptuous, released mouth. Suddenly, we heard a beautiful tone in the room. Maria started to cry.

“我觉得自己说话太蠢了！”

“I feel so stupid opening my mouth!”

“你看起来并不傻——你看起来和听起来都很棒！”

“You don’t look stupid – you look and sound wonderful!”

“我做不到！”

“I can’t do it!”

我没有亲自说服玛丽亚，她已经解决了所有声音问题，而是去找她的12个同学，征求她的反馈。“当玛丽亚像玛丽莲·梦露一样唱歌时，你们注意到了什么？ ”

Instead of trying to convince Maria myself that she just solved all of her vocal issues, I went to her twelve classmates to give her feedback. “What are you aware of when Maria sings with her mouth moving like Marilyn Monroe?”

每个学生的回答都是：“玛丽亚是一位美丽、有女人味的女人，她的声音非常动听。”

The response of every student was, “Maria is a beautiful, feminine woman with a gorgeous voice.”

玛丽亚紧咬牙关，是为了控制自己，保持童真，不暴露自己作为女性的柔弱。当她松开下巴时，泪水也随之涌出。

Maria’s tight jaw was a way for her to be in control, stay a child, and not expose her femininity as a woman. When it released, so did a flood of tears.

不要清理

Don’t Clean Up

作为人类，我们身体里承载着过去经历和创伤带来的恐惧和痛苦。用歌声宣泄这些恐惧可以起到宣泄作用，同时还能展现出更美妙的声音和专属于你的音色。运用“感官条件”，你可以立即释放这些恐惧，展现你真实的声音。如果泪水涌出，不要掩饰。继续哭下去。你的自由就在彼岸。

As human beings, we hold fear and pain from past events and trauma in our bodies. Singing through those fears can be cathartic, and at the same time, reveal a more beautiful voice and a tone that is only yours. By using Sensory Condition, you have an immediate way to release those fears and reveal your true voice. If tears come up, don’t clean up. Keep crying. Your freedom is on the other side.

走进角色——生日快乐

Step Into A Character – Happy Birthday

玛丽莲·梦露和猫王埃尔维斯·普雷斯利

Marilyn Monroe & Elvis Presley

现在轮到你“进入角色”了。我们即将进入第十章，你将把《生日快乐》与玛丽莲·梦露的表演《总统先生，生日快乐》联系起来。享受进入玛丽莲·梦露这个“蛇蝎美人”角色的乐趣。此外，让我们尝试两种方式！第二次，进入一个更像“帅哥”而不是“蛇蝎美人”的角色。让我们以猫王埃尔维斯·普雷斯利为例。他的嘴巴和身体动作也优美而轻松，充满性感。唱两遍《生日快乐》，享受每个角色的乐趣。

Now it’s your turn to “step into a character.” We are heading to Chapter Ten when you’ll connect “Happy Birthday” to Marilyn Monroe’s performance, Happy Birthday Mr. President. Enjoy stepping into the “femme fatale” character of Marilyn Monroe. In addition, let’s try it two ways! Second time around, step into a character who is more of a “stud” rather than a “femme fatale.” Let’s use the character of Elvis Presley. He too moved his mouth and body with beautiful ease and sensuality. Sing “Happy Birthday” twice having fun with each character.

随着我们继续前进，感觉条件将始终伴你歌唱。你可能最喜欢某种特定的感觉——比如阳光的感觉，或者精油的感觉——所以请随意地将它运用到任何事上。没问题。感觉条件是在任何一天释放身体的绝佳工具。无论你醒来时充满喜悦，还是焦虑不安——感觉条件都能为你提供支持。

As we move forward, Sensory Condition will always be present when you are singing. You might love one particular sensation the best – like the sensation of the sun, or the sensation of oil – so feel free to use it for everything. That’s fine. Sensory Condition is such a marvelous tool to release your body on any given day. Whether you wake up full of joy, or full of anxiety – Sensory Condition has literally got your back.

组织一下自己...请勾选“感觉状况”。

Organize yourself… Please check off Sensory Condition.

 

 

现在让我们通过需求和行动来完成革命性的发送组件！

Now let’s finish The Revolutionary Send components with Need and Action!

第九章

chapter nine

---

需要

NEED

玛丽·塞特拉基安

MARY SETRAKIAN

这是个人的

This One Is Personal

从机场出发的出租车驶过一座壮观的大桥时，我仿佛看到了曼哈顿岛那璀璨的光芒。没错，我在出租车里唱起了弗兰克·辛纳屈的那首老歌。

As my taxi from the airport crossed a spectacular bridge, I could see the luminous island of Manhattan. Yup, I sang that Frank Sinatra cliché right there in the taxi.

“如果我能去那里，我就能去任何地方……这取决于你……纽约……纽约！”

“If I can make it there I’ll make it anywhere…It’s up to you…New York…New Yoooork!”

我在格林威治村借了一套暂时空置的公寓，并有一个月的时间来安排生活：找个家，找份工作，找个朋友，如果幸运的话，还能登上舞台。

I borrowed a temporarily vacant apartment in Greenwich Village and had a month to put a life together: find a home, a job, friends, and with any luck, my feet on a stage.

我一路走在人行道上，靠着冰箱顶上找到的一盒米饭充饥。这真是省钱又能减肥。菜里发现煮熟的虫子可不是什么好事，但我觉得这能补充蛋白质，就继续往前走。

I pounded the pavement, sustaining myself with the box of rice I’d found atop the fridge. It was a great money saver and also on my diet. Discovering cooked worms in my dish was not so delightful, but I considered it extra protein and carried on.

在那里的第一周，我欣喜若狂地通过了试镜，并被一家非百老汇剧目公司——曼哈顿轻歌剧团（简称LOOM）的合唱团选中。我每周挣35美元。哇哦！我成了一名职业演员！找公寓时，第三周我如愿以偿。我大学好友马蒂的另一个大学好友马蒂也需要室友。太棒了！第四周，我找到了一份上午秘书的工作。免租一个月，回报丰厚。

My first week there, to my joy I auditioned and landed in the chorus of an off-Broadway repertoire company, the Light Opera of Manhattan (LOOM for short). I made $35 a week. Woo hoo! I was a working actress! Apartment hunting, I hit gold the third week. My wonderful college friend Marty had another college friend Marty who needed a roommate. Perfect! The fourth week I landed a secretary job in the mornings. The rent-free month paid off in spades.

但我仍然想要百老汇。

But I still wanted Broadway.

大河

Big River

我当时正在排队等候，希望能在我的第一次百老汇试镜中被看到—— 《大河》（Big River） ——一部由罗杰·米勒创作的激动人心的配乐的新音乐剧。在百老汇，你必须演唱各种风格的歌曲——正统派、高音带、流行、摇滚——现在，（鼓声响起）还有……乡村音乐。在百老汇，你还必须加入名为“公平”（Equity）的演员工会。如果你不是，你就得在试镜队伍的末尾，公平演员工会的演员后面等着，希望如果还有时间的话还能被看到。我就是这样的。

I was waiting in line, hoping to be seen for my first Broadway audition – Big River– a new musical with an exciting score by Roger Miller. On Broadway, you are required to sing in all styles – legit, belt, pop, rock – and now, (drum roll) …country. On Broadway, you also have to be in the actors’ union called Equity. If you’re not, you wait at the end of the audition line behind the Equity actors and hope to be seen if there’s time left. That was me.

选角导演斯坦利·索布尔从演播室探出头来，说出了那句神奇的话：“今天我会听所有人的表演，即使是非股权公司成员。” （耶！）他通常只听16小节，而不是像往常一样快速地听，这次他只听了8小节。我跟你说，这可真快。

The casting director, Stanley Soble, peaked his head out of the studio and said the magic words, “I’ll hear everybody today, even non-Equity.” (Yippee!) Instead of the usual quick 16 bars, he would only hear 8 bars. Let me tell you, that’s quick.

我一时想不起来唱什么。在新英格兰音乐学院唱了两年舒曼和比才的歌，也没能让我为汤姆·索亚的密西西比河乡村之旅做好准备。我最终选择了《奇异恩典》。我没有乐谱，但我在家乡的教堂里唱过很多次。我会清唱，并加入乡村口音。而且，其中一段正好有8小节。完美！

I couldn’t decide what to sing. Two years of singing Schumann and Bizet at the New England Conservatory didn’t prepare me for Tom Sawyer’s country trip down the Mississippi. I settled on “Amazing Grace.” I didn’t have the sheet music, but I’d sung it in my hometown church many times. I’d do it a cappella and give it a country twang. Plus, one verse was exactly 8 bars. Perfect!

房间里只有斯坦利·索布尔和钢琴师——两个留着灰胡子的白人。我走进房间时努力装出一副和蔼可亲的样子，但没人笑。通常情况下，笑起来会让我感到尴尬，但这次他们阴沉的表情并没有让我感到不安。我走到房间中央，面对面无表情的斯坦利，开始唱歌。

Stanley Soble and the pianist were the only people in the room – both white guys with grey beards. I tried to be delightful as I stepped into the room, but nobody cracked a smile. Normally that would throw me off, but this time their somber faces didn’t faze me. I stepped to the center of the room in front of stone-faced Stanley and started to sing.

“奇异恩典，多么甜美的声音……”

“Amazing Grace, how sweet the sound… “

轰隆，钢琴的低音响起。钢琴师完美地融入了我的歌曲。他让钢琴声宛如管弦乐队！我的声音在他深情的伴奏中荡漾开来。渐强……渐弱……《奇异恩典》的八小节突然间变成了一场穿越时空的旅程。我们彼此感同身受。我们活在每一刻，每一个音符，每一个乐句之中。这首歌有开头、中间和结尾。这八小节充满了魔力！

BOOM went the bass note on the piano. The pianist perfectly entered my song. He made the piano sound like an orchestra! My voice rode the wave of his heartfelt accompaniment. Crescendo…diminuendo…eight bars of “Amazing Grace” were suddenly a journey through time. We felt each other. We lived each moment, each note, each phrase. The song had a beginning, middle, and end. It was eight measures of MAGIC!

然后就搞定了。我看了一眼那几个家伙。他们一起笑了笑。我礼貌地笑了笑，说了声谢谢，然后离开了。我回家了，尽量不去想太多。

And then it was done. I glanced at the guys. They had a little laugh together. I giggled politely, said thank you, and left. I went home and tried not to think about it too much.

第二天我收到了回电——要去参加百老汇演出！

The next day I got a callback – for a Broadway show!

（哦，我的天哪！哈利路亚！导演 Des McAnuff 看上我了，要我出演《女孩 3 号》！选角组甚至给我发了一段女主角的场景让我读！哦，太高兴了！哦，太狂喜了！）

(Oh my God! Hallelujah! The director, Des McAnuff, is seeing me for Girl #3! Casting even sent me a scene to read for the leading lady! Oh joy! Oh rapture!)

然后……彻底的恐慌开始了。

And then…pure panic set in.

我听说，等你回电的时候，应该唱你第一次试镜时唱的歌。他们喜欢那首歌是有原因的。再唱一遍给团队听。

I’d heard that when you get a callback, you should sing what you sang at the original audition. There was a reason they liked that song choice. Sing it again for the team.

（哦不！我怎么能再次清唱《奇异恩典》？我怎么可能重复试镜时发生的神奇事情？如果我从另一个调开始会怎么样？钢琴家还会神奇地出现吗？如果他不出现，而我的清唱版本又很烂怎么办？此外，唱一首像《奇异恩典》这样的简单歌曲对像 Des McAnuff 这样的大导演来说还不够！）

(Oh no! How can I sing “Amazing Grace” a cappella again? How could I possibly repeat the magic that happened at my audition? What if I start in another key? Would the pianist still magically come in? What if he doesn’t and my a cappella version sucks? Besides, singing an easy song like “Amazing Grace” can’t be enough for a big director like Des McAnuff!)

我超爱琼·贝兹翻唱的鲍勃·迪伦的《永远年轻》。我拿到了乐谱，努力让它听起来好听。然后我磕磕绊绊地和我的演员室友马蒂唱了一遍台词。一阵阵怀疑的声音不断冒出来。（我在骗谁呢？我都不知道我在干什么。他们会觉得我是个骗子。）

I loved Joan Baez’s version of “Forever Young” by Bob Dylan. I got the sheet music and tried to make it sound good. Then I stumbled through the dialogue with my actor roommate Marty. Little voices of doubt kept rearing their heads. (Who am I kidding? I don’t know what I’m doing. They’re gonna think I’m a fraud.)

回访的时候，桌子后面坐满了人，德斯·麦卡纳夫就坐在正中央。打过几次招呼后，我唱起了歌。我努力让它显得特别。我的歌结束了。

At the callback there was a room full of people behind the desk, and smack dab in the middle – Des McAnuff. After a few hellos, I sang my song. I tried to make it special. My song ended.

突然，德斯开始模仿鲍勃·迪伦唱《永远年轻》。我跟着笑了，好像觉得他很搞笑似的。（我的天，这肯定不好。）然后我读了斯坦利·索布尔的那段。舞台指导说要亲吻哈克贝利·费恩，所以我亲了亲斯坦利的脸颊。（亲选角导演可以吗？）我垂头丧气地离开了房间。

Suddenly, Des launched into his own Bob Dylan impersonation of “Forever Young.” I smiled along like I thought he was funny. (Oh my, this can’t be good.) Then I read the scene with Stanley Soble. The stage direction said to kiss Huck Finn, so I kissed Stanley on the cheek. (Is it okay to kiss the casting director?) I left the room deflated.

我没得到那个角色。很明显。我根本不知道我到底在做什么，也不知道我作为歌手算什么。失望感弥漫开来。

I didn’t get the part. It was clear. I didn’t know what the heck I was doing or who I was as a singer. Disappointment loomed.

* * *

* * *

我抓住一切机会去试镜。嗯，这可是想成为百老汇歌手的最低要求。即使你有一份“工作”，这也是工作中很重要的一部分。要知道，我在曼哈顿轻歌剧院一步步晋升，从合唱团女孩一跃成为女主角，周薪也翻了三倍，达到105美元。（谢天谢地，我还有兼职秘书。）我演唱了轻歌剧《风流寡妇》和《淘气玛丽埃塔》的主角，还在吉尔伯特和沙利文的许多经典作品中担任女主角，比如《皮纳福号》和《艾欧兰瑟》。

I kept on auditioning every chance I could get. Well, that’s the minimum a Broadway-singer-wanna-be must do. It’s an important part of the job, even when you have a “job.” You see, I had climbed the ladder at the Light Opera of Manhattan from chorus girl to leading lady tripling my pay to $105 a week. (Thank goodness for my part-time secretarial job.) I was singing the title character in the operettas The Merry Widow and Naughty Marietta, and the leading ingénue in many Gilbert & Sullivan classics like HMS Pinafore and Iolanthe.

我从LOOM剧团休息了几个月，因为我的试镜终于有了回报。我被演员权益协会（我是专业的！）选中，出演了当地一家晚餐剧院制作的莫里·耶斯顿的《九人》。那部剧相当精彩，百老汇明星云集。我很激动能被选中在合唱团里扮演一个“意大利人”，由安德鲁·劳埃德·韦伯未来的音乐总监克里斯汀·布洛杰特执棒。

I took a couple of months off from LOOM because my auditioning had finally paid off. I got into Actors’ Equity (I’m a pro!) in a local dinner theater production of Maury Yeston’s Nine. It was quite a production, peppered with Broadway starlets. I was thrilled being cast as an “Italian” in the chorus under the baton of the future musical supervisor to Andrew Lloyd Webber, Kristen Blodgette.

我的演员室友马蒂来看我的演出。我迫不及待地想听听他对我精彩的合唱表演的评价：唱着高音C，穿着漂亮的服装，大摇大摆地走着。

My actor roommate Marty came to see me in the show. I couldn’t wait for his feedback of my stellar chorus girl performance singing high C’s and strutting my stuff in beautiful costumes.

“你觉得怎么样？”

“How did you like it?”

“你表现很好。”

“You were good.”

“好吗？还有什么我可以做得更好的吗？”

“Good? Was there something I could have done better?”

“嗯，还记得你和其他女士假装穿衣服的时候吗？”

“Well, remember when you and the other ladies were pretending to get dressed?”

“当然。”

“Sure.”

“你花了很大的力气来上下抚摸你的裙子——但这不是演戏。”

“You had a lot of energy touching up and down your dress – but that’s not acting.”

“表演是什么？”

“What is acting?”

“你要真心触摸你的裙子——要知道你正在触摸你的裙子——不要假装触摸你的裙子。表演才是真实的。”

“You want to actually touch your dress – know you are touching your dress – don’t pretend to touch your dress. Acting is being true.”

“哦。”

“Oh.”

我仔细思考了马蒂说的话。我决定聘请几位百老汇声乐教练来帮助我提升演技。“玛丽，要更像角色。”“要悲伤！”“要快乐！”“要年轻！”“要大胆！”我会给他们一个悲伤、快乐、年轻、大胆的表情——但就连我自己也看得出来，那不是“真实的”。

I thought about what Marty had said. I decided to hire several Broadway vocal coaches to help me improve my acting skills. “Mary, be more like the character.” “Be sad!” “Be happy!” “Be young!” “Be bold!” I would give them a sad, happy, young, and bold face – but even I could tell, it wasn’t “true.”

是时候去寻找一个真正的表演课程了。

It was time to find a real acting class.

寻找苏珊·巴特森

Finding Susan Batson

我的寻觅之路始于一位著名的表演老师的会面。在试镜前的面试中，他询问了我的表演经历。我自豪地告诉他，我是外百老汇剧目剧目的女主角。他说，如果我想上他的课，我根本就不能上任何戏。所以我没有报名。

I began my search by meeting a renowned acting teacher. In the pre-screen interview he asked me about my acting experience. I told him proudly that I was the leading lady in repertory off-Broadway. He said that I couldn’t be in a show at all if I wanted to take his class. I didn’t sign up.

然后我发现了一个正在表演契诃夫的《海鸥》场景的工作室。

Then I found a workshop that was performing scenes from Chekov’s The Seagull.

（为什么不呢？）我参加了这个课程！这出戏有三人出演，我是其中一位玛莎，和另一位演员搭档演了一场戏。

(Why not?) I jumped into the course! The play was triple cast, and I was one of the Mashas paired with an actor to do a scene.

我穿着A字裙和时髦的黑色紧身衣站在舞台上，一只袖子很长，一只胳膊裸露着。（那天我肯定去上舞蹈课了。）我和我的舞伴开始了这场戏。我大概说了七个字，矮个子导演就跳上舞台，一脸厌恶。

I was standing on the stage in my A-line skirt and stylin’ black leotard with one long sleeve and one naked arm. (I must have gone to dance class that day.) My partner and I began the scene. I got about seven words out before the short director leapt up onto the stage, totally disgusted.

“那真是糟透了。还有玛丽，你为什么要在玛莎面前穿这个？这对角色一点帮助都没有。”

“That was just awful. And Mary, why did you wear this for Masha? It’s not helping the character at all.”

导演拽了一下我的紧身衣前襟。毫无预兆地，我的胸部一下子就露在他面前了！小导演慌乱得满脸通红，吓得缩了回去。我小心翼翼地拉起上衣，装出一副若无其事的样子，努力不让自己晕倒。（我可是演员啊，该死的！）

The director tugged at the front of my leotard. Without warning, my breast popped out in front of his face! Flustered and bright red, the little director cowered away. I carefully pulled up my top, made a nonchalant face and tried not to dissolve. (I’m an actor, goddammit!)

他咽了口唾沫，重新振作起来。“好了，我们再试一次。现在，玛丽，你要念台词，然后对你的搭档做点恶心的事。”我深吸一口气，念完台词，然后迅速拉下紧身衣，再次露出胸部。全班同学都惊呆了。我重新盖好，恢复过来，继续表演。

He regrouped with a gulp. “Okay, let’s try it again. Now Mary, you are to say the line and do something disgusting to your partner.” I took a breath, said my line, and in one swift motion pulled down my leotard and exposed my breast again. The class swooned. I re-covered, recovered, and went on with the scene.

下课后，那里最有才华的女演员之一走到我面前说：“你应该跟苏珊·巴特森学习。”

After class, one of the most talented actresses there came up to me. “You need to study with Susan Batson.”

“真的吗？那人是谁？”

“Really? Who’s that?”

“一位了不起的表演老师。”

“An amazing acting teacher.”

“我为什么要跟她学习？”

“Why should I study with her?”

“因为你今天表现得这么好。你身上有种特别的特质。跟苏珊学习吧。相信我。”

“Because of the way you handled yourself today. You have something special. Study with Susan. Trust me.”

表演课

Acting Class

我甚至没想过 告诉苏珊·巴特森我是个歌手，每晚都在外百老汇演出（她也没问）。我是个新手，来这里是为了学习。

I didn’t even think to tell Susan Batson that I was a singer, starring off-Broadway every night (and she didn’t ask). I was a beginner. I was there to learn.

我每周上三天课。每节课，苏珊都会给我们布置不同的练习。如果苏珊说：“你得到这份工作了！”生活就好了。我的生活糟透了。

I went to class three days a week. Every lesson, Susan assigned us a different exercise. If Susan said, “You got the job!” life was good. My life sucked.

“玛丽，你被关机了。”

“Mary, you’re shut down.”

“你被困住了。”

“You’re stuck.”

“相信。”

“Trust.”

我知道苏珊是对的，但我不知道该如何解决这个问题。

I knew Susan was right, but I had no idea how to fix it.

有一天，苏珊让我们去医院探望你的父亲。其他同学都泪流满面。我呢？眼泪汪汪的。

One day Susan told us to Visit your father in the hospital. The other students had tears streaming down their faces. Me? Dry-as-a-bone.

几周后，在一次对抗练习中，我已经完全摆脱了愤怒，苏珊让我绕着房间走一圈，站在每个学生面前说：“操你！”我感到很尴尬，而他们却很高兴。

Weeks later during a Confrontation Exercise, I was so disconnected from my anger that Susan had me go around the room, stand in front of each student and say, “Fuck you!” I was as embarrassed as they were delighted.

下一节课，苏珊宣布：“我们这个行业竞争很激烈。今天我让你们上台做一个你们认为自己最擅长的‘日常活动’。一件你们每天都会做的事情。世界上没有人能比你们做得更好。你们三人一组。”

Next class Susan announced, “Our business is competitive. Today I’ll put you on stage to do an “Everyday Activity” that you think you do the best. Something that you do every day. Nobody else in the world does this activity as well as you. You’ll go in groups of three.”

我第一个念头就是用牙线。我是世界上用牙线最厉害的人。

My first thought was to floss. I am the best flosser in the world.

一位女演员做饭，另一位穿衣打扮，一位读杂志，一位男士梳头。有些人得到了这份工作，但也有些人没有。

One actress cooked, another got dressed, one read a magazine, a guy combed his hair. A few got the job – a few didn’t.

苏珊把我们组的人叫到舞台上。我走到座位时，突然顿悟。（我每晚都演奏《淘气的玛丽埃塔》。我每天都练习唱歌。我会唱音阶！）我站好位置，用延长的八度唱出我的女高音部分。我上下弹奏着音阶。我的眼角余光瞥见了苏珊。她惊呆了。

Susan called my group to the stage. As I walked to my spot, I had an epiphany. (I’m playing “Naughty Marietta” every night. I practice singing every day. I’ll sing scales!) I took my place and sang my soprano vocalize with extended octaves. Up and down the scale I went. I saw Susan in the corner of my eye. She was awestruck.

墨菲定律说得没错，另外两位女演员也选了唱歌。（该死，这几率多大？我得让这事儿更有趣点！）我接下了唱歌的任务，开始练习《淘气玛丽埃塔》里的戏份。苏珊停下了练习。

As Murphy’s Law would have it, the other two actresses chose singing as their activity too. (Dammit. What are the odds? I better make this more interesting!) I bagged the singing and jumped into practicing scenes from Naughty Marietta. Susan stopped the exercise.

“玛丽……所以……你是一名歌手。”

“Mary…so…you’re a singer.”

“是的。”苏珊只是看着我。

“Yes.” Susan just looked at me.

“显然，唱音阶是你每天都会做的事。它有一种如此真诚的感觉。我无法将目光从你身上移开。当你换到场景时——那没什么意思。但那些音阶！”我笑得合不拢嘴。感谢上帝，我没有用牙线。

“Obviously singing scales is an activity you do every day. There was something so honest about it. I couldn’t take my eyes off you. When you changed to the scene – that was not interesting. But those scales!” I smiled from ear to ear. Thank God I didn’t floss.

从那时起，苏珊就知道我是谁了。我也开始知道了。

From then on Susan knew who I was. I was beginning to know, too.

私人课程

Private Lesson

我和苏珊预约了第一节私人课。她让我坐在她正对面的椅子上。我完全不知道会发生什么。

I scheduled my first private lesson with Susan. She sat me in a chair directly across from her. I had no idea what to expect.

“你的周末过得怎么样？”苏珊热情地问道。

“How was your weekend?” Susan asked warmly.

我去参加了一场婚礼。我的一位好友刚刚结婚。我被邀请在婚礼上献唱，这感觉很特别——但我认识其中一位伴郎。他和我交往了大概两个月。我们上周才分手。唉。他居然就在对面。你知道那种感觉吗？一个男生明明知道你在，却不理你。他甚至连看都没看我一眼。他当时正放声大笑，跟漂亮的伴娘们调情。他知道我听得见。

“I went to a wedding. A dear friend of mine just got married. I was asked to sing at the ceremony, which was really special – but I knew one of the groomsmen. He was my boyfriend for like two months. We just broke up last week. Ugh. There he was across the way. You know how it is when a guy knows you’re there, but he doesn’t acknowledge you? He didn’t even shoot me a glance. He was laughing really loudly and flirting with the pretty bridesmaids. He knew I was in earshot.”

“你去哪里躲避他了吗？”苏珊问道。

“Did you go anywhere to get away from him?” Susan inquired.

“是的。”

“Yes.”

“在哪里？”

“Where?”

“浴室。”

“The bathroom.”

“你对浴室有什么印象？”

“What do you remember about the bathroom?”

“我站在镜子前面。”

“I stood in front of the mirror.”

“你在干什么？”

“What were you doing?”

“看着我自己。”

“Looking at myself.”

“感觉怎么样？”

“What was the sensation?”

（感觉怎样？）我什么也想不起来。

(What was the sensation?) Nothing came to me.

“你感觉怎么样？”苏珊又问。

“How did you feel?” Susan asked again.

我无话可说。感觉好像一个小时过去了。

I had no words. It felt like an hour went by.

“你知道什么？”

“What are you aware of?”

终于……终于……一个词浮现在我的脑海里。但我敢说吗？

Finally…finally…a word came into my mind. But dare I say it?

…

…

“孤独。”

“Lonely.”

“是啊啊啊啊啊啊啊！！！！！！”

“Yesssssssssssssssss!!!!!!!!!”

苏珊绕着工作室跑了一圈，庆祝胜利！我的眼睛都瞪得像碟子一样，看着她为我的孤独举办派对。我的意思是，她居然在庆祝我的痛苦！

Susan ran a victory lap around the studio! My eyes were like saucers looking at her have a party for my loneliness. I mean, she was actually celebrating my pain!

然后我突然意识到……这就是我缺失的东西！我痛苦的感受！我一直被告知“快乐起来，微笑起来”，但我可以有痛苦的感受吗？说“我很孤独”也可以吗？

And then it hit me…that’s what’s missing! My painful feelings! I was always told to just “be happy and smile,” but I can have painful feelings? To say “I’m lonely” is allowed?

苏珊揭开了我的真相。我第一次明白，我的孤独其实是我人生的一笔财富。它是我可以带给我的艺术家的珍宝。它是我可以拥抱任何角色的真理。它是我可以赋予我作品的深度。我，真实的我，我的全部，才是真正的作品。

Susan unlocked my truth. For the first time, I understood that my loneliness was actually an asset to my life. It was a jewel I could bring to my artist. A truth I could embrace for any character. A depth I could give to my work. Me, as I am, all of me, was the real work.

“玛丽，就是这样，”苏珊说。“所有的感觉都是需要的。当你能够完全释放你的感觉时，你就能将这些感觉与你的声音联系起来。这就叫做‘需要’。”

“Mary, this is it,” Susan said. “All feelings are required. When you are able to have your feelings completely free, you will then be able to connect those feelings with your voice. It’s called the Need.”

需要

NEED

4. 情感生活方面

4. Emotional Life Side

需求——情感

NEED – Emotions

目标：学习如何触及内心深处的情感，并通过歌唱来创作艺术。这些深层情感被称为“需求”。

The Goal: To learn how to access your deep emotions and make art by singing through them. These deep emotions are called the Need.

为什么这很重要：当你“唱出”你的需要时，一个充满魔力的声音便会浮现。它会变成一种无人能教你如何创造的声音。你的声音不仅仅是声带质量或肺泡形状的结果。你的声音也是你一生经历的表达，充满了痛苦、喜悦、恐惧、胜利、希望以及所有其他人生经历的元素。信不信由你，经过一些练习，那些从未唱准音调的人，也会发现自己突然能唱准音调。这真是个奇迹。

Why This Is Important: When you “sing through” your Need, a voice emerges that has something utterly magical about it. It becomes a sound that nobody can teach you how to create. You see, your voice is not just the result of the quality of your vocal cords or the shape of your air pockets. Your voice is also the expression of a lifetime of experience filled with pain, joy, fear, triumph, hope, and all the other elements of the human experience. And believe it or not, with some practice, those who have never been able to carry a tune, discover that they can suddenly sing on pitch. It’s a miracle.

需要改变的是：唱歌时你必须停止假装感受，而是真正地感受和相信自己。

What Needs To Change: You must stop pretending to feel when singing a song, and to instead actually feel and trust yourself.

误区：情绪激动时，歌声无法达到最佳状态；哭泣时，更不可能唱好。你的工作是唤起观众的情感，而不是自己去感受。如果我屈服于这个误区，我就永远找不到自己的声音，也不会在百老汇发展。有一种技巧能将你深层的情感与你的声音连接起来。自从斯坦尼斯拉夫斯基踏上演艺舞台以来，许多伟大的演员都在运用这种技巧——但你不必成为专业演员也能表达自己的情感。你会在车里唱歌，在无人倾听的情况下，听着你最喜欢的阿黛尔的歌哭泣吗？感觉很好，而且你觉得自己的声音真的很棒吗？ 你已经走在正确的道路上了。

MYTH: You can’t sing at your best if you get emotional, and you have no chance of singing well if you start to cry. Your job is to evoke emotions from the audience – not to feel them yourself.



If I had succumbed to this Myth, I never would have found my own voice, or had a Broadway career. There is a craft to connect your deep emotions with your voice. Great actors have been doing this craft ever since Stanislavski arrived on the acting scene – but you don’t have to be a professional actor to access your emotions. Do you sing in the car, weeping to your favorite Adele song when no one is listening? Does it feel good, and you think you actually sound pretty good?



You are already on the right path.

用情感歌唱

SINGING WITH EMOTIONS

你找到了拯救我歌唱事业和生命的要素——那种渴望。在斯坦福大学和新英格兰音乐学院学习古典声乐，对我的教育至关重要，无论是作为一名表演者还是教师。但我缺少了一些东西——将我的情感与我的声音连接起来。

You have arrived at the element that saved my singing career and saved my life – the Need. Studying classical voice at Stanford University and the New England Conservatory were paramount for my education, both as a performer and teacher. But something was missing – connecting my emotions with my voice.

挥动魔杖，感受所有情绪，相信自己，并带着这些情绪歌唱，并非易事——至少对我来说如此。即使在上过苏珊·巴特森的私人课之后，我仍然记得自己独自站在纽约公寓的角落里，指着自己的肚子大声喊着：“打开！打开！打开！” 但身体和情绪都有它们自己的时间线。

It’s not so easy to wave a magic wand, feel all of your emotions, trust yourself, and sing through those emotions – at least it wasn’t easy for me. Even after my private lesson with Susan Batson, I remember standing alone in the corner of my New York apartment pointing to my stomach and demanding, “Open! Open! Open!” But the body and the emotions have their own timeline.

我们每个人的人生都充满故事。这些故事里，隐藏着一些我们永远不愿回忆的瞬间。我们宁愿将那些痛苦的记忆锁起来，继续前行。身为人，最痛苦也最艰难的部分在于，只有将这些记忆展现出来，感受它，才能真正获得解脱。而当你获得解脱时，你才能用歌声唱出你的情感。又或者，当你能够用歌声唱出你的情感时，你就获得了解脱？随着人生的流逝，两者或许同时存在。

Each of us has a life full of stories. In those stories lie particular moments we don’t want to remember – ever. We’d rather lock those painful memories away and move on. The poignant and difficult part of being human is that those are the memories that must be exposed and felt in order to be truly liberated. And when you are liberated, you are able to sing through your emotions. Or is it when you are able to sing through your emotions, you are liberated? As life goes, both may be true at the same time.

我继续在苏珊·巴特森的表演课上练习《需求》，每周三次，持续了几个月。我的情绪被压抑了。我必须努力工作。我必须找到痛苦的根源。记住它。感受它。并通过歌曲释放它。我一直觉得自己很幸运能成为一名歌手——实际上，这是我的责任。令人欣慰的是，它不仅帮助我成为了一名更好的歌手，还帮助我从源头上治愈了那些伤痛。

I continued working in acting class with Susan Batson on the Need three times a week for months on end. My emotions were stuck. I had to do the work. I had to go to the origin of the pain. Remember it. Feel it. And release it through song. I have always felt so lucky to be a singer – it’s actually my responsibility to do this work. The happy result was that it not only helped me become a better singer, but it also helped heal those wounds at the source.

我逐渐意识到，我必须挖掘我的童年，才能最终直面并理解那些隐藏的情感。于是，我这么做了。

It became clear to me that I had to do some excavation of my childhood so I could finally meet and understand the emotions that were hiding. So, I did.

我和我爸爸

Me & My Dad

在我的成长过程中，爸爸一直是我的英雄。他是我认识的最有魅力、最慈爱、最聪明的人——而且他热爱唱歌。

Growing up, Dad was my hero. He was the most charming, loving, and brilliant man I knew – and he loved to sing.

唱歌是我家的必备活动，从三岁起，我就爱唱歌，怎么也唱不够。每个星期天早上，我们都会聚集在父母的特大床上。爸爸仰卧在床单下， 双膝弯曲，朝着一座盖着毯子的山顶。我们这些孩子会一个接一个地坐在山顶上。规则是，我们必须用最大的嗓门唱一首歌——然后，毫无预兆地，爸爸的膝盖就会软下来，我们都会爆发出歇斯底里的大笑。我享受着这样的每一分钟。

Singing songs was a prerequisite in my family, and from the age of three I couldn’t get enough. Sunday mornings we’d gather on my parent’s king-size bed. Under the sheets lying on his back, Dad would bend his knees into a blanket-covered mountaintop. One at a time, we kids would sit on top of the kneecap peak. The rule was we had to sing a song at the top of our lungs – and then, without warning, Dad’s knees would drop, and we’d all dissolve into hysterical laughter. I loved every minute of it.

许多个周末，爸爸都会让我和三个兄弟围坐在一台开盘式磁带录音机旁。他会采访我们，然后我们一起唱歌。我们会完美地和声唱出20年代的经典金曲：《如果你认识苏西》（If You Knew Suzie）、《亲爱的，我有一个梦想》（I Had a Dream Dear）和《巴尼谷歌》（Barney Google）。我的兄弟们都是很棒的歌手，但爸爸却看到了我身上的明星潜质。他认为我有潜力成为像埃塞尔·默曼、朱迪·加兰和玛丽·马丁那样的百老汇歌星。爸爸也给我安排了一对一的唱歌课程。

Many weekends, Dad sat me and my three brothers around a reel-to-reel tape recorder. He’d interview us and then we’d sing. We’d belt out in perfect harmony the old-time hits of the ‘20’s: “If You Knew Suzie,” “I Had a Dream Dear,” and “Barney Google.” My brothers were terrific singers, but Dad saw a star quality in me. He thought I had the potential to be like one of those original Broadway belters: Ethel Merman, Judy Garland, and Mary Martin. Daddy gave me my own one-on-one sessions too.

奇迹般地，多年后我在阁楼的一个盒子里发现了那些磁带。

Miraculously I discovered those tapes in a box in the attic many years later.

“哦，当然啦，亲爱的……”麦克风捕捉到了爸爸打开录音机的声音。“好了，今天是十月……呃，十月七号……今天下午风好大啊，对吧？我们今天都做了什么？几乎什么都没做。”

“Oh, sure honey…” The microphone caught Dad’s voice as he flipped on the recorder. “Now, today is October…the uh, October 7th…and it’s quite a windy day this afternoon, isn’t it? What did we do today? Hardly anything.”

“也几乎不去游泳。”

“Hardly go swimming too.”

“没有，我们没有，对吧？”

“No, we didn’t, did we?”

“好吧，我们最好。”

“Well, we better.”

“哦，也许以后吧。”

“Oh, maybe later.”

“好吧。”

“Alright.”

“那么——你叫什么名字？”

“Now – what is your name?”

“玛丽。”

“Mary.”

“玛丽什么？”

“Mary what?”

“S——trakin。”

“S--trakin.”

“玛丽，你多大了？”

“How old are you, Mary?”

“你能再告诉我一遍吗？”小玛丽低声问道。

“Can you tell me again?” little Mary whispered.

“你三岁半了。”

“You’re three and a half.”

“三个半。”

“Three and a half.”

“现在——我们要唱歌吗？”

“Now – are we going to sing a song?”

“是的。”

“Yeah.”

“什么？”

“What?”

“我想要一个像嫁给老爸的那个女孩一样的女孩。”

“I Wanna Girl Just Like the Girl That Married Dear Ol’ Dad.”

“好的。现在让我们看看……我想如果我们按下这个按钮，停一会儿，我们就保持这个……就一会儿……”

“Ok. Now let’s see…I think that if we press this button and stop for a minute, we’ll hold this…just a second here…”

爸爸关掉了机器。“宝贝，拿着麦克风。”我见过其他歌手拿麦克风，所以我像个专业人士一样把它举到嘴边。爸爸俯身用他灵巧的手指调整了一下。“就这样，”他说着，把小尤克里里放在了膝盖上。

Dad turned off the machine. “Here honey, take the mic.” I had seen other singers hold a mic, so I brought it up to my mouth like a pro. Dad leaned in and adjusted it with his nimble fingers. “Just like that,” he said, and set the little ukulele on his knee.

这首歌我们以前唱过很多次，但从来没在那些大型机器前唱过。爸爸又把开关打开了。

We had sung the song many times before, but never in front of all that big machinery. Dad flipped the switch back on.

“准备好？”

“Ready?”

“是啊，”我笑了。爸爸弹起了尤克里里的前奏。“我想要一个女孩，就像嫁给亲爱的老爸的那个女孩一样！”我像爸爸教我的那样大声唱了出来，他也跟着唱了起来。我记得当时我心想：（这麦克风难道不应该把我的声音录得很大吗？）我不知道麦克风只是把我的声音录在磁带上。我尖叫得更大声了。“我想要一个女孩，就像那个女孩……”（声音什么也没变大，但我不在乎！）

“Yeah,” I smiled. Dad plucked the ukulele intro. “I wanna girl JUST like the girl that MARRIED dear old DAD!” I belted it out LOUD like Dad had taught me, and he sang along. I remember thinking, (Shouldn’t this microphone be making my voice really loud?) I didn’t know the mic was only recording my voice onto the tape. I screamed even louder. “IIIIII wanna girl JUUUST like the girl that…” (Nothing got louder, but I didn’t care!)

“带回家吧，玛丽！带回家吧！”

“BRING IT HOME, MARY! BRING IT HOME!”

“ MAAAARIED亲爱的老DAAAAAAAAD！

“MAAAARIED dear old DAAAAAAAAAD!

“玛丽，太棒了！”当我无畏的领袖爸爸表扬我时，我兴奋不已。

“Mary, that was terrific!” I glowed as my fearless leader, Daddy, praised me.

* * *

* * *

我六岁那年，我们又一次聚在父母的特大床上——不过这次是为了开个家庭会议。爸爸宣布他只能周末回家。他得出差。我记得当时心想：“好吧，我能应付……我会乖乖的。我只在周末见到爸爸，这样就没问题了。”

When I was six years old, once again we all gathered on my parent’s king-size bed – but this time for a family meeting. Dad announced that he could only come home on weekends. He had to travel for work. I remember thinking, (Okay, I can handle this…I’ll be a good girl. I will only see Daddy on weekends, and that will be okay.)

我们当时完全没有想到——一个个周末就变成了几个月，甚至一年都见不到父亲。真相是什么？父亲当时正忙于挽救濒临倒闭的家族生意，而他的婚姻却岌岌可危。

Little did we know – weekends would turn into months, even a year went by without seeing our father. The truth? Dad was in the midst of saving the failing family business, all the while his marriage was falling apart.

从六岁到十三岁，我经常站在父母的卧室里，对着大镜子看着自己。我其实并没有真正地看——只是在听。几英尺外，我被锁在浴室里，听到母亲独自一人痛哭流涕。我站在那里，屏住呼吸，强忍着痛苦。我感到无助，胃里翻江倒海，五脏六腑都快把我吞噬了。有时我甚至感觉自己的心都碎了。然而，与此同时——我却看不到一滴眼泪。我浑身干涩。也许如果我不哭，这一切就真的没有发生。

From the ages of six to thirteen, I’d often stand in my parent’s bedroom looking in the big mirror at myself. I wasn’t really looking – just listening. A few feet away, locked in the bathroom I’d hear my mother, alone, sobbing her eyes out. I’d stand there, holding my breath, swallowing back the pain. I felt helpless, my stomach churning, my insides eating me up. There were times I thought I could feel my heart actually breaking. Meanwhile – not a tear in sight. I was dry-as-a-bone. Maybe if I didn’t cry, it wasn’t really happening.

不要清理

Don’t Clean Up

表演课

Acting Class

尽管我全身心投入到Susan Batson的表演工作坊和私人课程中，但我还是没法在课堂上哭。我去做了心理治疗，希望能治好我那干巴巴的毛病。说实话，这真的管用。我坐在Susan教室的角落里，哭得眼泪都出来了。我不知道自己为什么哭，但我确实哭了。今天也不例外。

Even though I was 100% committed to Susan Batson’s acting workshops and private lessons, I still couldn’t cry in class. I went to therapy in hopes of fixing my dry-as-a-bone problem. Let me tell you, it helped. There I’d sit, in the corner of Susan’s classroom, sobbing my eyes out. I had no idea what I was crying about, but I was crying. This day was no different.

“我该怎么办，苏珊？”我恳求道。

“What do I do, Susan?” I pleaded.

“别收拾，玛丽。哭吧。继续哭。对了，轮到你了。”我忍着疼痛，站在教室前面。“现在……回想一下你人生中最糟糕的一天。” （我的天哪。真的吗？最糟糕的一天？我记不清最糟糕的一天是哪一天了！）

“Don’t clean up, Mary. Cry. Keep crying. It’s your turn, by the way.” I stayed in the pain and took my place in front of the class. “Now…go back to the worst day of your life.” (Oh my God. Really? The worst day? I can’t remember the worst day!)

然后，就像变魔术一样——一个场景浮现在我的脑海里。我十三岁，透过卧室的窗户，看到一辆U-Haul卡车停在车道上。没人看见我。我整个人都麻木了。爸爸刚来取家具。离婚已经确定了。我哥哥罗比正在帮爸爸妈妈分家具，然后把东西装上卡车，因为他们关系不太好。我听到很大的响声——家具拖拽的声音，卡车引擎的轰鸣声。爸爸冲着我哥哥大声发号施令，仿佛他是战争中的子弹男孩。“罗比！罗比！”

And then like magic – a scene came to my mind. I was thirteen years old, seeing a U-Haul truck in the driveway through my bedroom window. Nobody could see me. I was numb. Dad had just arrived to get his furniture. The divorce was final. My brother Robbie was helping Mom and Dad divide the furniture and load the truck since they weren’t getting along. I heard loud noises – furniture dragging, truck engine revving. Dad was yelling orders at my brother as if he was the bullet boy in a war. “Rob! Rob!”

“现在唱歌吧。”苏珊说。

“And now sing.” Susan said.

“我不能！”我抽泣着说。

“I can’t!” I sobbed.

“你必须！你的乐器正在打开。这不是心理治疗。我们不是想修复你的感受。我们只是在利用它们。现在你无法控制，但随着练习，你的乐器会变得清晰，你将成为你的容器。别收拾残局！”我以为她生我的气了。我开始一边唱一边哭。

“You must! Your instrument is opening up. This isn’t therapy. We’re not trying to fix your feelings. We’re using them. It’s uncontrollable now, but with practice, your instrument will be clear, and you will be the vessel. Don’t clean up!” I thought she was mad at me. I started weeping through my song.

“一定是你，一定是你，我四处寻找，终于找到一个人……”

“It had to be you, it had to be you, I wandered around and finally found that somebody who…”

那个麻木的好女孩消失了。我站在窗边，看着爸爸开着卡车驶上车道，把我们一家人抛在身后。我每说一句话都抽泣着。“我哭了！我唱不了歌！”

The numb good girl evaporated. There I was at the window, looking at Daddy steering the truck up the driveway, leaving our family behind. I sobbed through every word. “I’m crying! I can’t sing!”

“别打扫，玛丽！”苏珊喊道。“说话！唱歌！”

“Don’t clean up, Mary!” Susan yelled. “Speak through it! SING THROUGH IT!”

“因为没有人给我带来过这样的刺激，尽管你有很多缺点，但我仍然爱你……”

“For nobody else gave me a thrill, with all your faults, I love you still...”

我浑身颤抖。我伸手去抱爸爸。我从来没有对他说：“别走！陪着我！”现在我可以告诉他了。我可以唱给他听！

I was shaking. I was reaching to Daddy. I never told him, “Don’t go! Stay with me!” Now I could tell him. I could sing it to him!

“一定是你，很棒的你……”

“It had to be you, wonderful you…”

突然间，我的抽泣声与我的声音合二为一。我仿佛听到了爸爸的回答，就像三岁的孩子站在麦克风前一样。

Suddenly the sobbing united with my voice in one fell swoop. I could hear Daddy’s reply, just like I was three years old in front of the microphone.

“带回家吧，玛丽！带回家吧！”

“BRING IT HOME, MARY! BRING IT HOME!”

“一定是你！”

“IT HAD TO BE YOU!”

同学们鼓掌。苏珊喊道：“你得到这份工作了！”

My classmates applauded. Susan yelled, “YOU GOT THE JOB!”

如何找到你的需求

HOW TO FIND YOUR NEED

未实现的感觉

An Unfulfilled Feeling

需求是所有情绪的元素。它不仅仅是一种感觉，而是一种未得到满足的感觉。你可以尝试摆脱它，但它不会消失。作为人类，我们总是被需求所困扰——只是我们并不总是意识到它。更糟糕的是，我们隐藏这些情绪。它们似乎太痛苦了，难以应对。

The Need is the element that is all emotions. It’s not just a feeling, but an unfulfilled feeling. You could try and try to get rid of it, but it’s not going anywhere. As human beings, we are always walking around in a Need – we’re just not always aware of it. Or even worse, we hide these emotions from ourselves. They seem too painful to deal with.

您可能想知道——我如何才能弄清楚我的个人需求是什么？

You may be wondering – How can I figure out what my personal Need is?

你能否回忆起内心深处那种隐隐作痛的感觉——渴望被爱？渴望被关注？渴望被拥抱？渴望被看见、被倾听、被理解？这些未得到满足的渴望，都体现了某种需求。

Can you recall a time when you had that aching feeling inside – the feeling of the Need to be loved? – the Need for attention? – the Need for a hug? – the Need to be seen, heard, or understood? The sensation of those unfulfilled desires are all examples of a Need.

我们一生都带着这些情绪感受。当我们的需求得不到满足时，内心深处的渴望就会变得如此强烈。你五岁、十岁、十五岁时的需求是什么？你现在还能感受到这些需求吗？是哪一种？你意识到了什么？

We carry these emotional sensations in our bodies our whole lives. When we’re not getting the Need filled up, the deep desire is so intense. What was your Need when you were five years old? Ten? Fifteen? Do you feel a sensation of one of those Needs now? Which one? What are you aware of?

我们的职责就是在歌唱时保持“需求”的存在。“需求”只是“革命性寄托”的十个要素之一——而所有十个要素都必须充分发挥作用，才能让你的声音完全掌控。如果只有“需求”，那你就可以被称为“自我放纵”。但如果没有“需求”，唱出优美的音符就没那么有趣了。“需求”正是缺失的一环。

It is our job to have the Need present as we sing. The Need is only one of the ten elements of The Revolutionary Send – and all ten elements must be active to bring full mastery to your voice. If there was only Need, one could be called “self-indulgent.” But without the Need, singing beautiful notes just isn’t that interesting. The Need is the missing link.

艺术家在童年的每一次伤痛中都能看到祝福。挖掘、感受并最终成功释放这些伤痛的路径，正是成就伟大艺术的源泉。这是一种方式，一个过程，一段旅程，一种实践。它让你的人生更接近艺术家的全部潜能。有些路途比其他路途更危险，但每条路都充满价值。它只属于你。

An artist sees the blessing in every childhood hurt. The path to excavating, feeling, and triumphantly liberating those pains becomes the very food of artistic greatness. It’s a way. A process. A journey. A doing. It brings your life closer to your full potential as an artist. Some paths are more treacherous than others, but all have worth. It’s individually yours.

生日快乐

HAPPY BIRTHDAY

玛丽莲·梦露

Marilyn Monroe

我们现在正在准备《革命送别》的下一章也是最后一章的需要，即第十章，届时您将演唱 玛丽莲梦露的标志性版本“生日快乐” ——总统先生，生日快乐。

We are now preparing the Need for the next and final chapter of The Revolutionary Send, Chapter Ten, when you will sing the iconic version of “Happy Birthday” by Marilyn Monroe – Happy Birthday Mr. President.

我们的问题是——玛丽莲梦露需要什么？

Here is our question – What is Marilyn Monroe’s Need?

玛丽莲·梦露的童年和个人生活被广泛地描述为痛苦、孤独、复杂，并伴有被遗弃的感觉。她有各种各样的需求，这些需求都符合她的描述。但当我想到玛丽莲·梦露为肯尼迪总统唱生日快乐歌时，我就能想象她“渴望关注”。作为一个从小就不知道父亲是谁的女孩，玛丽莲·梦露迫切地需要男人的关注似乎是可以理解的。能够得到一位被誉为世界上最有权势的男人——美国总统——的关注，想必是一件令人陶醉的事情。

Marilyn Monroe’s childhood and personal life have been well chronicled as painful, lonely, and complicated with feelings of abandonment. She has a plethora of Needs that could apply. But when I think of Marilyn Monroe singing “Happy Birthday” to President Kennedy, I can imagine her “Need for attention.” As a girl who grew up never knowing who her father even was, it seems plausible that Marilyn Monroe desperately needed a man’s attention. To get the attention from a man who some might call the most powerful man in the world – the President of the United States – must have been quite intoxicating indeed.

让我们为玛丽莲梦露选择——“需要关注”。

Let’s choose for Marilyn Monroe – the “Need for attention.”

在寻找玛丽莲梦露的“关注需求”时，您将运用您个人的“关注需求”，因为您真诚地将其与这个标志性版本的“生日快乐”联系起来。

In finding Marilyn Monroe’s “Need for attention,” you will be applying your personal “Need for attention” as you connect truthfully to this iconic version of “Happy Birthday.”

感觉记忆练习

Sense Memory Exercise

需要关注

Need for Attention

为了找到你“对关注的需求”，我将带你进行一个感官记忆练习。现在，想象一下你需要某人关注却没有得到的时刻。这个人可能是你的父母，一段单恋，甚至是你一直以来利用的人，那个你“今天很想见到”的人。然后，回想一下你没有得到这个人关注的那个时刻。它可能是你的童年时光，可能是多年前的某个时刻，也可能是最近的某个时刻。选择你感觉自己没有得到这个人任何关注的最糟糕的时刻。它可能并非真实存在，但如果你感觉它真实存在，那就是正确的选择。即使只是转瞬即逝的一瞬间，也足够了！开始吧！

To find your “Need for attention,” I’ll be taking you through a Sense Memory Exercise. Right now, think of a time when you needed a certain person’s attention, but you didn’t get it. It could be one of your parents, an unrequited love, or even the person you’ve been using so far, the person you’d “love to see today.” Then, go back to that moment in time when you didn’t get attention from this person. It could have been a moment from your childhood, a moment from many years ago, or some time more recently. Choose the worst moment with this person when you felt you weren’t getting ANY attention from them. It might not have even been true, but if it felt true to you, that’s the right choice. Even if it was just a fleeting moment, that’s enough! Here we go!

含泪高歌

SINGING THROUGH TEARS

如果当你感受到需要时泪流满面，就像苏珊·巴特森对我说的，不要收拾残局！用心去说，去唱！经常有人问我，如何含泪歌唱。如果你哽咽了，唱不出来怎么办？答案是——坚持练习！用歌唱表达你的情感是一门艺术。你见过奥斯卡获奖演员在电影场景中一边哭一边说吗？他们必须练习这样做。你也一样。每当情绪涌上心头，你感到哽咽时，即使你的声音像青蛙一样，也要坚持说，坚持唱，坚持下去。随着时间的推移，你也会成为敞开的容器。

If tears come up when you are feeling the Need, just as Susan Batson said to me, don’t clean up! Speak and sing through it! I’m often asked how to sing through tears. What do you do if you get choked up and you can’t sing? The answer is – you keep practicing! To sing through your emotions is an artform. Have you seen Oscar award–winning actors crying and speaking at the same time in their movie scenes? They had to practice doing that. So do you. Whenever the emotions come up and you feel choked up, just keep speaking and singing through it, even if you sound like a frog. With time, you too will become the open vessel.

准备生日快乐

PREPARING HAPPY BIRTHDAY

添加需求

Adding the Need

现在，我们将搭建你的“第四面墙”，在你唱《生日快乐》时，将你与“关注的需求”连接起来。这不是你的最后一次表演！这只是一个机会，让你在唱歌时练习“需求”这一要素。

We are now going to set up your Fourth Wall to connect you to your “Need for attention” as you sing “Happy Birthday.” This is not your final performance! This is a chance to practice just the one element of Need as you sing.

再添三分

ADDING THREE POINTS

你已经知道如何将你的个性化内容放在第四面墙的中心点。现在，你需要在第四面墙上再添加两个点。

You already know how put your Personalization on the center point on your Fourth Wall. Now you’re going to add two more points on your Fourth Wall.

• 找到第四面墙的中心点
• Find a center point on your Fourth Wall
• 找到中心偏右一点的第二个点
• Find a second point a bit to the right of center
• 找到中心偏左一点的第三个点
• Find a third point a bit to the left of center
• 不要选择太靠右或太靠左的点——记住，你的眼睛是你心灵的窗户，观众需要看到你的眼睛
• Don’t pick a point too far right or left – Remember, your eyes are the window to your soul, and the audience needs to see your eyes

人物、地点和梦想

PERSON, PLACE, & DREAM

1. 在中心点上，放置你最需要关注的人。他们最显著的身体特征是什么？他们最显著的人性品质是什么？

1. On the center point, put the person from whom you have a deep “Need for attention.” What is their strongest physical feature? What is their strongest human quality?

2. 在你的“第四面墙”的正确位置，记住感觉记忆练习中提到的那个地方。那个地方有什么是你永远不会忘记的？把那个地方的元素放在那个正确的位置上。

2. On the right point of your Fourth Wall remember from the Sense Memory Exercise the place. What is it in the place you will never forget? Put that element of place on that right point.

3. 在你的“第四面墙”的左边，写下你和那个人的梦想。如果你的那个人给予你所有你需要的关注，你会是什么样子？你会在哪里？他们会做什么？把那个梦想放在左边。

3. On the left point of your Fourth Wall, put your dream with the person. What would it be like if your person gave you all of the attention you need? Where would you be? What would they do? Put that dream on the left point.

玛丽的准备

MARY’S PREPARATION

我将回答上述每个问题，并为您提供一个示例，说明如何利用您的“关注需求”为“生日快乐”准备第四面墙。

I will answer each of the above questions to give you an example of how to prepare your Fourth Wall for “Happy Birthday” using your “Need for attention.”

对于我一生中最糟糕的“需要关注”的时刻，我会选择我父母离婚时父亲从我们家拿走他那一半家具的那一天。

For the worst moment in my life when I had the “Need for attention,” I’ll choose the day my father took away his half of the furniture from our home when my parent’s divorce was final.

1.我会把我的父亲放在中间——（他也是我“今天最想见到”的人）。他最显著的特征是他的脸，他最伟大的人性是他的慷慨。

1. On the center point I’ll put my father – (he was also the person I’d “love to see today”). His strongest physical feature is his face, and his strongest human quality is his generosity.

2.在正确的地方我会把东西放在我永远不会忘记的地方：我窗外开走的卡车。

2. On the right point I’ll put the thing in the place that I’ll never forget: the truck outside my window driving away.

3. 左边我会写上我和父亲的梦想：我的梦想是和父亲坐在一起，进行一次愉快的交谈，听他告诉我他为我感到多么自豪。

3. On the left point I’ll put my dream with my father: My dream is to sit with my father and have a wonderful conversation with him as he tells me how proud he is of me.

唱三遍你的歌——人物、地点和梦想

SING YOUR SONG THREE TIMES – PERSON, PLACE, & DREAM

现在，你将唱三遍《生日快乐歌》——一遍唱给你的人，一遍唱给你的家，一遍唱给你的梦。选择你音域里最容易唱的调。你不会唱错。

You will now sing “Happy Birthday” three times – one full time to your person, one full time to your place, and one full time to your dream. Choose the easiest key in your range. You can’t do it wrong.

你的准备：通过感官记忆练习，记住你的人说过或做过的那些让你终生难忘的事情。你想对那个人说什么，却没说？大声说出来！现在，你正处于“需要关注”的脉搏中。

YOUR PREPARATION: Remember from the Sense Memory Exercise what your person said or did that you’ll never forget as long as you live. What did you want to say to that person, but didn’t? Say it out loud! Now you are in the PULSE of your “Need for attention.”

玛丽的准备：我爸爸说了或者说做了一件事，就是开着卡车，把所有家具都拉走。我想对他说，但没说出口的是：“别走！留下来陪我！”我现在有一种“需要关注”的感觉。

MARY’S PREPARATION: The thing my father said or did was to drive away in the truck with all the furniture. The thing I wanted to say to him but didn’t was “Don’t go! Stay with me!” I’m now in the sensation of the “Need for attention.”